Vivien Leigh as Lady Macbeth in a publicity still for a 1955 production of Macbeth at the Shakespeare Memorial Theatre.
Orson Welles directs Anthony Perkins on the set of The Trial (1962) Photo by Nicolas Tikhomiroff (via)
Q. A critic who admires your work very much said that, in The Trial, you were repeating yourself…
Welles: Exactly, I repeated myself. I believe we do it all the time. We always take up certain elements again. How can it be avoided? An actor’s voice always has the same timbre and, consequently, he repeats himself. It is the same for a singer, a painter…There are always certain things that come back, for they are part of one’s personality, of one’s style. If these things didn’t come into play, a personality would be so complex that it would become impossible to identify it.
It is not my intention to repeat myself, but in my work there should certainly be references to what I have done in the past. Say what you will, but The Trial is the best film I ever made…I have never been so happy as when I made this film.”
-excerpted from Orson Welles: Interviews
(L to R) Marilyn Monroe, Clark Gable, Montgomery Clift, and Eli Wallach on the set of The Misfits (1960, dir. John Huston) (via)
Photographer: Cornell Capa
Anita Ekberg warming up on the set of La Dolce Vita after wading in the Trevi Fountain (1959) (via)
“Anita Ekberg was a glorious apparition! She was like phosphorus, an extraterrestrial with a lunar pallor in her face and hair. It’s been a long time since I saw Anita. Watching her weather so many seasons as she has…I particularly appreciate her because in one of my films, a filmetto called Intervista, I narrated a visit with Mastroianni to her villa in the country. She’s a woman of a certain age who’s put on weight, who lives with her dogs and ducks, like a happy peasant.
And I saw she’d aged gracefully, a tranquil aging, sober, wise…She’s no longer the glorious diva, the Olympian she once was but she seems to me a beautiful example of serenity.”
-Federico Fellini, 1993 (via)
Designed by art director Stephen Goosson, the city set was an elaborate miniature model that covered a ground area of 75 x 225 feet and whose tallest tower measured 40 feet.
Just Imagine’s New York was primarily inspired by architect Harvey Corbett’s prediction that 1970’s New York would resemble a “very modernized Venice” and by the futuristic urban designs presented in Hugh Ferriss’s 1929 book, The Metropolis of Tomorrow.
Ferriss’s drawings of the ”business center of the future” (pictures #3-5) provided the most direct inspiration for Goosson’s sets. Broad superhighways establish a geometric ground plan that extends upward through overlapping levels of bridges, streets, and terraced walkways. The grid of streets and bridges is pierced by huge freestanding skyscrapers surrounded by lower setback buildings, a design Ferriss created as an analogy to the natural world of “towering mountain peaks… surrounded by foothills”
The opening scenes of the (otherwise mediocre) film, which feature this cityscape, can be seen here.