h
occasionally subtle

izzy's playlists!

if i look back, i am lost

pixel skylines
Not today Justin
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oozey mess
Three Goblin Art
Sweet Seals For You, Always

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ojovivo

Love Begins
Game of Thrones Daily
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Show & Tell
todays bird

JBB: An Artblog!
Cosmic Funnies
let's talk about Bridgerton tea, my ask is open

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@hvrrx
rip to one of the coldest and rare artist who still put this level of artistry into posters and cover art for movies. i’d like to think he and several other in film twitter was apart of the reason i took the journey into watching older films because people dedicated time and artistry into discussing and praising such art. to dedicate such high level art to another art form itself is inspiring.
Night, San Francisco, Photo by William Gedney, 1975
Woman at a Laundromat, Photo by Bruce Davidson, 1966-68
Jay Maisel, Man in Green Pants, Manhatten, 1978
Philip Clarkson Elliott. Untitled [Buffalo Signs, Girl in front of Shirt Service], c. 1952.
After Sophie Taeuber-Arp Schematic Composition [Composition schématique] (commissioned by Jean [Hans] Arp and fabricated by Marcel Schneider c. 1954 after a 1933 gouache by Sophie Taeuber-Arp) 1933/c. 1954
Pride, Greenwich Village, June 1986
1980s Home Office.
From The Archives
Come Back to the 5 & Dime, Jimmy Dean, Jimmy Dean (Robert Altman, 1982)
Long Day's Journey into Night (1962) Jason Robards as Jamie Tyrone Katharine Hepburn as Mary Tyrone Ralph Richardson as James Tyrone Dean Stockwell as Edmund Tyrone directed by Sidney Lumet cinematography by Boris Kaufman
Carol Robertson (British, b. 1955, Berkshire, England) - Sirius, 2017, Paintings: Oil on Canvas
Chewing gum wrappers of the Demoratic People’s Republic of Korea, mostly 1980s (via gww.su)
1970s Kitchen Desk Area.
Love that television!
From The Archives
Josh Logan, who was directing, came to me and said, “Would you like to do Pic—” and I said “Yes” so fast he never got the nic out. Rosemary, the frustrated schoolteacher, is an awfully good part. (The way I understand it, Bill Inge had sisters who were teachers, and the play was originally written about Rosemary.) The company went to Kansas to shoot the picture, and for the second time in my life (it hadn’t happened since The Women) I heard that I was just too gorgeous for a role. My first scene was shot at the picnic grounds, where my sweetheart, Howard (played by Arthur O’Connell), and I were sitting in an old grandstand. My first line was “Look at that sunset, Howard.” To get a sunset glow on our faces, a pink filter had been put over the camera lens, and when Harry Cohn, back in Hollywood, got a look at the rushes, he exploded. “Tell Russell she looks too good.” There was no reason why Rosemary shouldn’t have looked good in that scene—she was on her best behavior, she was wearing her best dress, and she hadn’t yet touched a single drink. It was the day she hoped to coax a marriage proposal out of Howard. I’d had every intention of going to pot when the time came, no rouge, runny mascara, lipstick smudged in the corners of the mouth, but once we’d got the word from Harry Cohn, we really went to work on my face. I was a wreck. We drew streaks under my eyes with lead pencil (not black crayon or eyebrow pencil) because lead pencil makes the lines look like veins. The drunk scene, shot in one take, almost played itself. The woman’s loneliness, her desperation, welled up in me and took over. When I asked to do the scene again, Josh said no. “You’ll never get it that good again.”
Rosalind Russell as Rosemary Sydney in Picnic (1955) dir. Joshua Logan
I can hardly wait to hold you, feel my arms around you; how long I have waited—
The Boys in the Band (1970) dir. William Friedkin