Q: Of Course, It’s Not A Competition, But Is It Fair To Say, Judi, That You Know More Shakespeare Than

Takuma Nakahira

Collector / 2016

I shall be dumped where the weed decays, and the rest is rust and stardust.

Vladimir Nabokov, Lolita (via quotespile)

Withnail & I (1987)

Withnail: Why can't I have an audition? It's ridiculous. I've been to drama school. I'm good looking. I tell you, I've a fuck sight more talent that half the rubbish that gets on television. Why can't I get on television?

I/ Marwood : Well, I don't know. It'll happen.

Withnail: Will it? That's what you say. The only programme I'm likely to get on is the fucking news.

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."

Kaidan aka Kwaidan (1964)

Director: Masaki Kobayashi Cinematography by Yoshio Miyajima

”What matters to me is that the feeling excited by my films should be universal. An artistic image is capable of arousing identical feelings in viewers, while the thoughts that come later may be very different. If you start to search for a meaning during the film you will miss everything that happens. The ideal viewer is someone who watches a film like a traveler watching the country he is passing through: because the effect of an artistic image is an extra-mental type of communication. There are some artists who attach symbolic meaning to their images, but that is not possible for me. Zen poets have a good way of dealing with this: they work to eliminate any possibility of interpretation, an in the process a parallel arises between the real world and what the artist creates in his work.”

---  Andrei Tarkovsky

 from  Against interpretation: an interview with Andrei Tarkovsky / Spring 1981

Like an April lily, you have grown in death, in a tragic snowy springtime.

Juan Ramón Jiménez, from The Selected Writings; “The Dead Girl,” (via violentwavesofemotion)

Dead Man’s Shoes (2004) | dir. Shane Meadows

DoP : Danny Cohen