Old Hollywood
Cinema
1900-1979
Nostalgia is a seductive liar - George Wildman Ball
Klaus Kinski on the set of That Most Important Thing: Love (1975) Photo by Jean Gaumy (via)  “I felt this thing coming up in myself, just really physically growing in myself and happening, but it was a jungle, so I couldn’t distinguish things so much. I knew there were, in myself, the souls of millions of people who lived centuries ago - not just people but animals, plants, the elements, things, even, matter - that all of these exist in me. … And through the years it became clearer and clearer, this thing; it started to separate itself. I could make it come when I had to concentrate on, let’s say, a person I had to become - this thing became stronger. And took more of me. In this moment, I let it do it, because I wanted, I had to be this person. And as I was led to doing it, there was then no way back. And the more I tried to do it, the more I hated it. But there was no way back anymore; it was always going farther and farther and farther. Until one day, when I was walking through the streets of Paris, I started crying, because I could look at a man, a woman, a dog, anything, and receive it, anything, everything; there was no difference between physical and psychological. I felt like I was breaking out, breaking up, receiving everything, every moment, even things I did not see. There is no turning back from this. But this danger is the power you have. It is this same power that lets you hold an audience when you are on a stage. Then it is a concentration, the same concentration that in kung fu is used for the kick that kills or to break a table with your hand. It means that you are sure of the power and that you relinquish yourself to it.” -Kinski, quoted in Playboy magazine (November 1985)

Klaus Kinski on the set of That Most Important Thing: Love (1975) Photo by Jean Gaumy (via) 

“I felt this thing coming up in myself, just really physically growing in myself and happening, but it was a jungle, so I couldn’t distinguish things so much. I knew there were, in myself, the souls of millions of people who lived centuries ago - not just people but animals, plants, the elements, things, even, matter - that all of these exist in me.

… And through the years it became clearer and clearer, this thing; it started to separate itself. I could make it come when I had to concentrate on, let’s say, a person I had to become - this thing became stronger. And took more of me. In this moment, I let it do it, because I wanted, I had to be this person. And as I was led to doing it, there was then no way back. And the more I tried to do it, the more I hated it. But there was no way back anymore; it was always going farther and farther and farther.

Until one day, when I was walking through the streets of Paris, I started crying, because I could look at a man, a woman, a dog, anything, and receive it, anything, everything; there was no difference between physical and psychological. I felt like I was breaking out, breaking up, receiving everything, every moment, even things I did not see. There is no turning back from this.

But this danger is the power you have. It is this same power that lets you hold an audience when you are on a stage. Then it is a concentration, the same concentration that in kung fu is used for the kick that kills or to break a table with your hand. It means that you are sure of the power and that you relinquish yourself to it.”

-Kinski, quoted in Playboy magazine (November 1985)

François De Roubaix - Les Dunes D’Ostende (Les Levres Rouges: Original Motion Picture Soundtrack)

The Rocky Horror Picture Show (1975, dir. Jim Sharman) (via)

The Rocky Horror Picture Show (1975, dir. Jim Sharman) (via)

Tim Curry - Sweet Transvestite (The Rocky Horror Picture Show: Original Soundtrack)

Liza Minnelli in Cabaret (1972, dir. Bob Fosse) (via)

Liza Minnelli in Cabaret (1972, dir. Bob Fosse) (via)

Dustin Hoffman in Lenny (1974, dir. Bob Fosse) (via)

Dustin Hoffman in Lenny (1974, dir. Bob Fosse) (via)

Woody Allen (“Cowardly Sperm”) & Robert Walden (just “Sperm”) during the filming of the “What Happens During Ejaculation?” sequence from Everything You Always Wanted to Know About Sex, But Were Afraid to Ask (1972)  (via)

Woody Allen (“Cowardly Sperm”) & Robert Walden (just “Sperm”) during the filming of the “What Happens During Ejaculation?” sequence from Everything You Always Wanted to Know About Sex, But Were Afraid to Ask (1972) 

(via)

Wendy Carlos - Timesteps (A Clockwork Orange: Wendy Carlos’s Complete Original Score)

From the liner notes:

Wendy was, by her own admission, “about three and a half minutes” into [composing] Timesteps when a friend gave her a paperback copy of A Clockwork Orange. Like so many other readers, Wendy fell under the spell of Anthony Burgess’ vision of a world of tomorrow filled with ultra-violence. She was also struck by the fact that her Timesteps music seemed to capture the exact feeling of the opening scenes of Burgess’ book. Further work, and Timesteps evolved, subconsciously, into a kind of musical poem based on Clockwork — a work that, as Wendy says, was an “autonomous composition with an uncanny affinity for Clockwork.”

Then, the same friend who had given her Clockwork sent a clipping from a London newspaper announcing that Stanley Kubrick had just begun production of a film based on Burgess’ book. Wendy and [her producer Rachel Elkind], both admirers of Kubrick’s previous work, began to share the same day-dream: “Wouldn’t it be great if…”

Timesteps and Beethoven’s Choral Movement were airmailed to Kubrick. Wendy and Rachel waited. Finally, came a request from Kubrick: Could they come to London and discuss the use of Wendy’s music in the film?”

Ennio Morricone (composer) & Joan Baez (vocals/lyrics) - The Ballad of Sacco and Vanzetti, Pt. 2  

From Sacco & Vanzetti: Original Soundtrack from the Film

Akira Kurosawa conferring with Francis Ford Coppola for a commercial they filmed for Suntory Whiskey during the shoot of Kagemusha. The commercial can be seen here.  (via)

Akira Kurosawa conferring with Francis Ford Coppola for a commercial they filmed for Suntory Whiskey during the shoot of Kagemusha. The commercial can be seen here. 

(via)

Carrie (1976, dir. Brian De Palma) (via)

Carrie (1976, dir. Brian De Palma) (via)

Pino Donaggio - Bucket Of Blood (Carrie: Original Motion Picture Soundtrack)

Alfred Hitchcock on the set of Frenzy (1972) (via) Relatedly

Alfred Hitchcock on the set of Frenzy (1972) (via)

Relatedly

Fiona Fullerton in Alice’s Adventures in Wonderland (1972, dir. William Sterling)

Fiona Fullerton in Alice’s Adventures in Wonderland (1972, dir. William Sterling)

Sissy Spacek & Martin Sheen on the set of Badlands (1973, dir. Terrence Malick) Sheen: “One night I got a call saying that [Malick] decided to use me and would I be willing to do it. And I said, ‘Why sure, I’d be happy as Larry’. [The next morning], I was driving along Pacific Coast Highway and I was listening to a Dylan song called Desolation Row..and suddenly it dawned on me what had just happened - that I had the role of my life. And I began to weep uncontrollably with joy and I had to pull off the side of the road and just stop and reflect on what was happening. And it was one of the most profound moments of my life because it was the realization of a dream that I never thought would happen to me.” Spacek:”It was a very passionate kind of working experience. No one was making any money and everyone was there because we were desperate to work on the film…It was probably the first film that I felt creatively engaged in. Terry would ask me questions about the character. I felt like I wasn’t just an actor for hire…After working with Terry, I was like, ‘The artist rules. Nothing else matters.’ My career would have been very different if I hadn’t had that experience.” (via)

Sissy Spacek & Martin Sheen on the set of Badlands (1973, dir. Terrence Malick)

Sheen: “One night I got a call saying that [Malick] decided to use me and would I be willing to do it. And I said, ‘Why sure, I’d be happy as Larry’. [The next morning], I was driving along Pacific Coast Highway and I was listening to a Dylan song called Desolation Row..and suddenly it dawned on me what had just happened - that I had the role of my life. And I began to weep uncontrollably with joy and I had to pull off the side of the road and just stop and reflect on what was happening. And it was one of the most profound moments of my life because it was the realization of a dream that I never thought would happen to me.”

Spacek:”It was a very passionate kind of working experience. No one was making any money and everyone was there because we were desperate to work on the film…It was probably the first film that I felt creatively engaged in. Terry would ask me questions about the character. I felt like I wasn’t just an actor for hire…After working with Terry, I was like, ‘The artist rules. Nothing else matters.’ My career would have been very different if I hadn’t had that experience.”

(via)