Old Hollywood
Cinema
1900-1979
Nostalgia is a seductive liar - George Wildman Ball

Poster art: Swedish edition (click on individual posters for artist/film info) (via)

Jack Nicholson, Stanley Kubrick, and Shelley Duvall on the set of The Shining (January, 1979) (via)

Gyorgy Ligeti - Lontano (The Shining: Original Motion Picture Soundtrack)

“One dimension of my music bears the imprint of a long time spent in the shadow of death both as an individual and as a member of a group [Hungarian Jews during WWII]. Not that it lends a tragic quality to my music, quite the opposite.

Anyone who has been through horrifying experiences is not likely to create terrifying works of art in all seriousness. He is more likely to alienate.”

-Ligeti, quoted in Ligeti in Conversation (1984)

Joan Crawford, 1959. Photographer: Eve Arnold (via) 

Joan Crawford, 1959. Photographer: Eve Arnold (via) 

Christopher Lee & Carol Marsh in Horror of Dracula (1958, dir. Terence Fisher) (via)

Christopher Lee & Carol Marsh in Horror of Dracula (1958, dir. Terence Fisher) (via)

The Day the Earth Stood Still (1951, dir. Robert Wise) (via)

The Day the Earth Stood Still (1951, dir. Robert Wise) (via)

Vivien Leigh & Olivia de Havilland in Gone With the Wind (1939, dir. Victor Fleming) (via)

Vivien Leigh & Olivia de Havilland in Gone With the Wind (1939, dir. Victor Fleming) (via)

Douglas Fairbanks (center) & director Allan Dwan (right) on the set of Robin Hood (1922). Giant megaphones were used to direct large crowds of extras. (via)

Douglas Fairbanks (center) & director Allan Dwan (right) on the set of Robin Hood (1922). Giant megaphones were used to direct large crowds of extras.

(via)

Saul Bass designed title sequence for Walk on the Wild Side (1962, dir. Edward Dmytryk) (via)

Steven Spielberg remembers the “profound impression” made upon him as a 16-yr-old by the titles for Walk on the Wild Side. He recalls, ”I attempted to mimic Mr. Bass, using an 8mm camera and my dog on a leash walking along the narrow retaining wall outside my home in Scottsdale, Arizona. In trying to make my own movie…I made a foul error. I used a dog because we didn’t have a cat.  And as everyone knows, dogs are somewhat less sure-footed than felines. 

My cocker spaniel, Thunder, kept falling off the wall just as he got to the writer credit, did a tremendous pratfall on the producer credit, his legs went out from under him, and I got out of the titles business for good.”

-excerpted from Saul Bass: A Life In Film And Design

Elmer Bernstein - Walk on the Wild Side (Walk on the Wild Side: Music from the Motion Picture)

Sylvia Sidney on the set of The Miracle Man (1932, dir. Norman Z. McLeod) (via)

Sylvia Sidney on the set of The Miracle Man (1932, dir. Norman Z. McLeod) (via)

Liza Minnelli applying make-up during the filming of Tell Me That You Love Me, Junie Moon (1970, dir. Otto Preminger) (via) Photographer: Burt Glinn

Liza Minnelli applying make-up during the filming of Tell Me That You Love Me, Junie Moon (1970, dir. Otto Preminger) (via)

Photographer: Burt Glinn

Dinah Washington & Max Richter - This Bitter Earth/On the Nature of Daylight (Shutter Island: Music from the Motion Picture)

Above, poster art for The Golem (1920, dir. Carl Boese & Paul Wegener); below, still from The Golem (via)

Poster art and set design by Hans Poelzig.

Alain Goraguer - Main Theme (L’affaire Dominici: Original Motion Picture Soundtrack)