Giulietta Masina on the set of La Strada (1954, dir. Federico Fellini) (via)

“Mr. Fellini says that his wife sometime resists his view of her talents, which he summarizes as ‘a mingling of youngish and clownish.’ But make no mistake: in suggesting that his wife is a clown, Mr. Fellini means no insult. ‘The clown is the aristocracy of acting,’ he says. ‘To be a clown means to have the possibility of making people cry and laugh.’

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One of Federico Fellini’s initial sketches of La Strada’s Gelsomina 

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Gene Wilder & Peter Boyle in Young Frankenstein (1974, dir. Mel Brooks)(via)

Brooks: ”I was in the middle of shooting the last few weeks of Blazing Saddles somewhere in the Antelope Valley, and Gene Wilder and I were having a cup of coffee and he said, I have this idea that there could be another Frankenstein. I said not another – we’ve had the son of, the cousin of, the brother-in-law, we don’t need another Frankenstein. His idea was very simple: What if the grandson of Dr. Frankenstein wanted nothing to do with the family whatsoever. He was ashamed of those wackos. I said, “That’s funny.”

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Jabberwocky (1971, dir. Jan Švankmajer), a surrealistic short film loosely based on Lewis Carroll’s nonsense poem Jabberwocky.

Crimefighter/master of disguise “Judex” (Channing Pollock) makes a dramatic entrance in Georges Franju’s Judex (1963) (scene here)

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Merna Kennedy in production still from Police Call (1933, dir. Phil Whitman)

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Psycho (1960, dir. Alfred Hitchcock)

Julie Harris in The Haunting (1963, dir. Robert Wise)

“Hill House, not sane, stood by itself against its hills, holding darkness within; it had stood so for eighty years and might stand for eighty more. Within, walls continued upright, bricks met neatly, floors were firm, and doors were sensibly shut. Silence lay steadily against the wood and stone of Hill House, and whatever walked there, walked alone.”

-Shirley Jackson, The Haunting of Hill House (1959)

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Dorothy McGuire in The Spiral Staircase (1945, dir. Robert Siodmak)

“The wind shrieked, as though a flock of witches sailed overhead, racing the moon, which spun through the torn clouds like a silver cannonball, shot into space. Down in the basement, a flickering candle in her hand, she groped amid the mice, the spiders, and the shadows.

These shadows shifted before her, sliding along the pale-washed wall, as though to lead the way. Whenever she entered an office, they crouched on the other side of the door, waiting for her. She was nerved up to meet an attack which did not come, but which lurked just around the corner.

It was perpetual postponement, which drew her on, deeper and deeper, into the labyrinth.”

-Ethel Lina White, The Spiral Staircase (1933)

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