Old Hollywood
Cinema
1900-1979

Nostalgia is a seductive liar - George Wildman Ball
Sophia Loren at the Cannes Film Festival (1959) (via)

Sophia Loren at the Cannes Film Festival (1959) (via)

Letì­cia Romàin in The Girl Who Knew Too Much (1963, dir. Mario Bava) 

Letì­cia Romàin in The Girl Who Knew Too Much (1963, dir. Mario Bava) 

"I never felt scandal and confession were necessary to be an actress. I’ve never revealed myself or even my body in films. Mystery is very important."
-Claudia Cardinale (1965, via gettyimages)

"I never felt scandal and confession were necessary to be an actress. I’ve never revealed myself or even my body in films. Mystery is very important."

-Claudia Cardinale (1965, via gettyimages)

"Beautiful brown eyes, set in a marvelously vulpine, almost satanic, face - as beautiful as an erotic dream."
-Richard Burton on Sophia Loren (via mptv)

"Beautiful brown eyes, set in a marvelously vulpine, almost satanic, face - as beautiful as an erotic dream."

-Richard Burton on Sophia Loren (via mptv)

"A woman at 20 is like ice, at 30 she is warm, and at 40 she is hot."
-Gina Lollobrigida (via reelclassics)

"A woman at 20 is like ice, at 30 she is warm, and at 40 she is hot."

-Gina Lollobrigida (via reelclassics)

Federico Fellini & Giulietta Masina on the set of La Strada (1954, dir. Federico Fellini) 
Is [your wife, Giulietta Masina] a good actress, in your opinion?
Federico Fellini: Excellent. I think she would have interested me as such even if she hadn’t been my wife. Her mimicry, for example, and that little round face which can express happiness or sadness with such poignant simplicity. That little figure, with its tenderness, its delicacy, fascinates me no end. Her type is crystallized, even stylized for me. As an actress, she represents a special type, a very specific humanity.

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

Is [your wife, Giulietta Masina] a good actress, in your opinion?

Federico Fellini: Excellent. I think she would have interested me as such even if she hadn’t been my wife. Her mimicry, for example, and that little round face which can express happiness or sadness with such poignant simplicity. That little figure, with its tenderness, its delicacy, fascinates me no end. Her type is crystallized, even stylized for me. As an actress, she represents a special type, a very specific humanity.

Anouk Aimée in 8½ (1963, dir. Federico Fellini) 
(via)

Anouk Aimée in  (1963, dir. Federico Fellini) 

(via)

Federico Fellini on the set of 8½  (1963, photo by Tazio Secchiaroli/via corbis)
"I don’t believe in total freedom for the artist. Left on his own, free to do anything he likes, the artist ends up doing nothing at all. If there’s one thing that’s dangerous for an artist, it’s precisely this question of total freedom, waiting for inspiration and all the rest of it."

Federico Fellini on the set of (1963, photo by Tazio Secchiaroli/via corbis)

"I don’t believe in total freedom for the artist. Left on his own, free to do anything he likes, the artist ends up doing nothing at all. If there’s one thing that’s dangerous for an artist, it’s precisely this question of total freedom, waiting for inspiration and all the rest of it."