Tura Satana in Faster, Pussycat! Kill! Kill! (1965, dir. Russ Meyer) “Ladies and gentlemen, welcome to violence.”

Tura Satana in Faster, Pussycat! Kill! Kill! (1965, dir. Russ Meyer)

“Ladies and gentlemen, welcome to violence.”

Tura Satana as Varla in Faster, Pussycat! Kill! Kill! (1965, dir. Russ Meyer) via Big Bosoms & Square Jaws:The Biography of Russ Meyer by Jimmy McDonough: “She knew how to handle herself,” said Meyer. “Don’t fuck with her! And if you have to fuck her, do it well! She might turn on you!” In fact, the right for intercourse was Satana & Meyer’s first battle. Once shooting was about to begin out in the desert, Meyer informed her of his production code: no connubial bliss. “I can’t do that,” said Satana matter-of-factly. “What do you mean, you can’t do that?” barked Meyer. “You better find somebody else, because I need it every day, and if I don’t get it I get very cranky. If you want me to give you a good performance, I need to be relaxed. And that relaxes me.” “I knew she had me by the balls, because I couldn’t very well discharge her,” RM moaned later. He relented to Miss Satana, and it wouldn’t be the last time. But, Meyer had to ask, just who was going to fill her need way out here in the desert? “Not you,” she shot back. “You’re the director and you’re the producer. I’ll find somebody, even if I have to pull a gas jockey somewhere.” She settled for the assistant cameraman. “Gil Haimson was my stud,” she recalled, laughing. Meyer made her swear not to reveal to anyone else what she was getting away with. Haimson blushed when asked to confirm. “I didn’t conquer Tura. I was set up!” he blurted out. “Tura came on to me. I said, Russ’ll have a fit!” Gil had no idea that RM was in on the deal until decades later. “I went over to see Russ and said, “I’ve got to apologize for something.” When Haimson confessed, Meyer started howling with laughter. “You son of a bitch! You were set up, Gil!” Satana was one of the mighty few who ignored Meyer’s no sex decree, and she always felt that RM was a little miffed she didn’t choose him for a roll in the hay.

Tura Satana as Varla in Faster, Pussycat! Kill! Kill! (1965, dir. Russ Meyer)

via Big Bosoms & Square Jaws:The Biography of Russ Meyer by Jimmy McDonough:

“She knew how to handle herself,” said Meyer. “Don’t fuck with her! And if you have to fuck her, do it well! She might turn on you!”

In fact, the right for intercourse was Satana & Meyer’s first battle. Once shooting was about to begin out in the desert, Meyer informed her of his production code: no connubial bliss.

“I can’t do that,” said Satana matter-of-factly.

“What do you mean, you can’t do that?” barked Meyer.

“You better find somebody else, because I need it every day, and if I don’t get it I get very cranky. If you want me to give you a good performance, I need to be relaxed. And that relaxes me.”

“I knew she had me by the balls, because I couldn’t very well discharge her,” RM moaned later. He relented to Miss Satana, and it wouldn’t be the last time.

But, Meyer had to ask, just who was going to fill her need way out here in the desert?

“Not you,” she shot back. “You’re the director and you’re the producer. I’ll find somebody, even if I have to pull a gas jockey somewhere.” She settled for the assistant cameraman. “Gil Haimson was my stud,” she recalled, laughing. Meyer made her swear not to reveal to anyone else what she was getting away with.

Haimson blushed when asked to confirm. “I didn’t conquer Tura. I was set up!” he blurted out. “Tura came on to me. I said, Russ’ll have a fit!”

Gil had no idea that RM was in on the deal until decades later. “I went over to see Russ and said, “I’ve got to apologize for something.” When Haimson confessed, Meyer started howling with laughter. “You son of a bitch! You were set up, Gil!” Satana was one of the mighty few who ignored Meyer’s no sex decree, and she always felt that RM was a little miffed she didn’t choose him for a roll in the hay.

Tatsuya Nakadai has a productive day at the office in Sword of Doom (1966, dir.  Kihachi Okamoto) “I, Ryunosuke Tsukue, trust only my sword in this world. When I fight, I have no family.”

Tatsuya Nakadai has a productive day at the office in Sword of Doom (1966, dir.  Kihachi Okamoto)

“I, Ryunosuke Tsukue, trust only my sword in this world. When I fight, I have no family.”

Gary Cooper & Fay Wray in lost film Legion of the Condemned (1928, dir. William A. Wellman) (via garycooperscrapbook)

Gary Cooper & Fay Wray in lost film Legion of the Condemned (1928, dir. William A. Wellman) (via garycooperscrapbook)

Gary Cooper in Legion of the Condemned (1928, dir. William A. Wellman) (via garycooperscrapbook) “People ask me how come you’ve been around so long. Well, it’s through playing the part of Mr. Average Joe American.” -Gary Cooper

Gary Cooper in Legion of the Condemned (1928, dir. William A. Wellman) (via garycooperscrapbook)

“People ask me how come you’ve been around so long. Well, it’s through playing the part of Mr. Average Joe American.”

-Gary Cooper

Gary Cooper & Fay Wray in Legion of the Condemned (1928, dir. William A. Wellman) (via garycooperscrapbook), which has been classified as a “lost film” (no copies are known to have survived).

Gary Cooper & Fay Wray in Legion of the Condemned (1928, dir. William A. Wellman) (via garycooperscrapbook), which has been classified as a “lost film” (no copies are known to have survived).

Malcolm McDowell in If… (1968, dir. Lindsay Anderson) “One man can change the world with a bullet in the right place.”

Malcolm McDowell in If… (1968, dir. Lindsay Anderson)

“One man can change the world with a bullet in the right place.”

Marilyn Monroe, photographed with Tony Curtis, Jack Lemmon, and her admittedly superior breasts on the set of Some Like It Hot (1959, dir. Billy Wilder) (via drmacro) “[The tailor on Some Like It Hot] measured me, 16, 34, 43, 18, 19, 18,” Tony Curtis later recalled, “and then he goes to Marilyn - this is all in the same day and this is the truth…He comes in to Marilyn’s room and Marilyn had on a pair of panties and a white blouse and that’s all. He put the tape around her legs, looked up at Marilyn and said, ‘You know, Tony Curtis has got a better-looking ass than you. She was standing there, she unbuttoned her blouse, and said, “He doesn’t have tits like these!’” For once, I think we need these salty stories, because Monroe needs all the salt she can get. The Marilyn industry is so deeply soaked in her crack-ups-shaking the poor woman until we can hear the slosh of booze and the rattle of pills-that it’s a relief to get back to the floozie with the forked tongue. -Anthony Lane, excerpted from “On Billy Wilder”, The New Yorker

Marilyn Monroe, photographed with Tony Curtis, Jack Lemmon, and her admittedly superior breasts on the set of Some Like It Hot (1959, dir. Billy Wilder) (via drmacro)

“[The tailor on Some Like It Hot] measured me, 16, 34, 43, 18, 19, 18,” Tony Curtis later recalled, “and then he goes to Marilyn - this is all in the same day and this is the truth…He comes in to Marilyn’s room and Marilyn had on a pair of panties and a white blouse and that’s all. He put the tape around her legs, looked up at Marilyn and said, ‘You know, Tony Curtis has got a better-looking ass than you. She was standing there, she unbuttoned her blouse, and said, “He doesn’t have tits like these!’”

For once, I think we need these salty stories, because Monroe needs all the salt she can get. The Marilyn industry is so deeply soaked in her crack-ups-shaking the poor woman until we can hear the slosh of booze and the rattle of pills-that it’s a relief to get back to the floozie with the forked tongue.

-Anthony Lane, excerpted from “On Billy Wilder”, The New Yorker

Elsa Lanchester during the filming of Bride of Frankenstein (1935, dir. James Whale) (via mptvimages) “Stardom is all hard work, aspirins, and purgatives.”

Elsa Lanchester during the filming of Bride of Frankenstein (1935, dir. James Whale) (via mptvimages)

“Stardom is all hard work, aspirins, and purgatives.”

Still from The Black Cat (1934, dir. Edgar Ulmer) “I don’t know. It all sounds like a lot of supernatural baloney to me.” “Supernatural, perhaps. Baloney, perhaps not. There are many things under the sun.”

Still from The Black Cat (1934, dir. Edgar Ulmer)

“I don’t know. It all sounds like a lot of supernatural baloney to me.”

“Supernatural, perhaps. Baloney, perhaps not. There are many things under the sun.”