Rudolf Klein-Rogge, Fritz Lang (upper right), & crew on the set of Metropolis (1927, Fritz Lang) (via)
Cinema
1900-1979
Nostalgia is a seductive liar - George Wildman Ball
1900-1979
Nostalgia is a seductive liar - George Wildman Ball
Rudolf Klein-Rogge, Fritz Lang (upper right), & crew on the set of Metropolis (1927, Fritz Lang) (via)
Marilyn Monroe on the set of The Misfits (1961, dir. John Huston) (via)
Photo by Eve Arnold.
Federico Fellini directs Marcello Mastroianni & Bernice Stegers on the set of City of Women (1979) (via)
![Audrey Hepburn on the set of Funny Face (1956, photo by David Seymour) (via)
“Why, she was pressed, does she think she provoked such strong feelings of empathy from her audiences? After all, she was not a sex symbol (‘I sure wasn’t’), so what was it - her beauty, her vulnerability, her sense of humor, her sensitivity? - that gave her that special aura?
‘It’s impossible for me to know,’ [Audrey Hepburn] said with hesitation, ‘but if you asked me what I would like it to be, though it may sound presumptuous to say so, it’s an experience I’ve had with other performers who somehow make you open up to them. For me, it always has to do with some kind of affection, love, a warmth.’
‘I myself was born with an enormous need for affection and a terrible need to give it,’ she went on. ‘That’s what I’d like to think maybe has been the appeal. People have recognized something in me they have themselves — the need to receive affection and the need to give it. Does that sound soppy?’”
-excerpted from New York Times interview, April 1991](http://25.media.tumblr.com/7010493a894d68ab6747b5b9c97ccffb/tumblr_mfitkjl5v81qzdvhio1_500.jpg)
Audrey Hepburn on the set of Funny Face (1956, photo by David Seymour) (via)
“Why, she was pressed, does she think she provoked such strong feelings of empathy from her audiences? After all, she was not a sex symbol (‘I sure wasn’t’), so what was it - her beauty, her vulnerability, her sense of humor, her sensitivity? - that gave her that special aura?
‘It’s impossible for me to know,’ [Audrey Hepburn] said with hesitation, ‘but if you asked me what I would like it to be, though it may sound presumptuous to say so, it’s an experience I’ve had with other performers who somehow make you open up to them. For me, it always has to do with some kind of affection, love, a warmth.’
‘I myself was born with an enormous need for affection and a terrible need to give it,’ she went on. ‘That’s what I’d like to think maybe has been the appeal. People have recognized something in me they have themselves — the need to receive affection and the need to give it. Does that sound soppy?’”
-excerpted from New York Times interview, April 1991
Elizabeth Taylor on the set of Cleopatra (1963, dir. Joseph Mankiewicz) (via)
Akira Kurosawa on the set of Yojimbo (1961) (via)
Stanley Kubrick, James Mason, and Peter Sellers on the set of Lolita (1962, dir. Stanley Kubrick) (via)
Marilyn Monroe on the set of The Misfits (1961, dir. John Huston) (via)
Photo by Eve Arnold.
Faye Dunaway & Steve McQueen on the set of The Thomas Crown Affair (1968, dir. Norman Jewison) (via)
Audrey Hepburn on the set of Sabrina (1954) Photographer: Dennis Stock (via)
Buster Keaton on the MGM sound stage used for Speak Easily (1932) (via)
Paul Newman, Robert Redford, & director George Roy Hill on the set of Butch Cassidy and the Sundance Kid (1969) (via)
Cary Grant & Grace Kelly on the set of To Catch a Thief (1955, dir. Alfred Hitchcock) (via)
2001: A Space Odyssey (1968, dir. Stanley Kubrick) (via)
Marilyn Monroe & Montgomery Clift on the set of The Misfits (1961, dir. John Huston) (via)
Photo by Eve Arnold.
