
Kiana Khansmith
Claire Keane

Love Begins
hello vonnie
Xuebing Du
Misplaced Lens Cap
we're not kids anymore.

shark vs the universe

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Monterey Bay Aquarium
trying on a metaphor
Cosmic Funnies
Cosimo Galluzzi
Lint Roller? I Barely Know Her
One Nice Bug Per Day
cherry valley forever

★
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Aqua Utopia|海の底で記憶を紡ぐ

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@hypn0tized
🥦 Grocery clerks 🥦
Gamer cats
Indie sleaze
pretty girl power
ur such a loser i wanna suck ur dick
Felt uhhhhh horny won't delete later
Aurora and frozen trees
lorenzmira_lapland
let me feel you move closer
Andrea Avellino
BOUND (1996) dir. The Wachowskis
For instance, in one of the drafts of the sex scene, the Wachowskis had written that Violet would take off Corky’s shirt and admire her breasts. “I said, ‘Oh no, not with these two,’” Bright recalled. “Corky is very butch and kind of shy, and she’s not going to have her shirt ripped off and her nipples hanging out. She would rather die. Violet is more knowing than that, so she needs to sneak up on her and disarm her. A femme would never make a frontal assault on your tits.” With Bright’s advice, that choreography was gone, and was replaced instead by moments like when Violet traces her fingers on Corky and takes her hand and puts it on her breast. Bright also suggested we see Violet’s hand moving in between Corky’s thighs, and Corky’s belly trembling at the moment of orgasm, so we understand what’s happening without seeing it explicitly. “You should think of the woman’s hands as her genitals,“ Bright said. “You need really erotic close-ups of the hands. And not just in the sex scene. For instance, when Corky fixes the plumbling, and there’s water pouring all over her hands, it’s obviously a symbol for the sex that they’re soon to have. The whole movie was wet with with water and blood, all sorts of juicy, squishy associations. And luckily Gina Gershon had such good hands, you could imagine what was going to happen next.” As a consequence, “there wasn’t a single pinky move that wasn’t in the script,” Bright said. All the white spaces of the couple’s embrace were filled in and choreographed. “I didn’t write it word for word the way they did it in the end,” she said, “but I gave them the elements, and the Wachowskis did all the storyboards from there.”
Susie Bright Talks About Becoming a Sexpert for “Bound”
Model: heathersmy Photography by: natashacornephotography Studio: themeyerstudios Hair and makeup by: natwilsmakeup Edited by: daventurephoto
SLC Punk! (1998)
Dante’s Inferno (1967) | dir. Ken Russell
she’s back