ryanpanos:

Theater Series | Hiroshi Sugimoto | Socks Studio
Starting in the late 1970s, Hiroshi Sugimoto took pictures of cinemas interiors and drive-ins with the aim of encapsulate the whole lenght of a movie in a single shot. He left the camera shutters open throughout the running of a movie and the glowing screen of the cinemas was left as a trace on each take. A somehow uncanny light resonates in the dark cinema halls. At a further glance, this central light ethereally underlines the rich architectural details of the theater interiors. You might want to confront Sugimoto’s work with Michael Wesely’s, a photographer that uses to take photographs featuringi  3 years long exposures: read “The passing of time“, (on Socks).
ryanpanos:

Theater Series | Hiroshi Sugimoto | Socks Studio
Starting in the late 1970s, Hiroshi Sugimoto took pictures of cinemas interiors and drive-ins with the aim of encapsulate the whole lenght of a movie in a single shot. He left the camera shutters open throughout the running of a movie and the glowing screen of the cinemas was left as a trace on each take. A somehow uncanny light resonates in the dark cinema halls. At a further glance, this central light ethereally underlines the rich architectural details of the theater interiors. You might want to confront Sugimoto’s work with Michael Wesely’s, a photographer that uses to take photographs featuringi  3 years long exposures: read “The passing of time“, (on Socks).
ryanpanos:

Theater Series | Hiroshi Sugimoto | Socks Studio
Starting in the late 1970s, Hiroshi Sugimoto took pictures of cinemas interiors and drive-ins with the aim of encapsulate the whole lenght of a movie in a single shot. He left the camera shutters open throughout the running of a movie and the glowing screen of the cinemas was left as a trace on each take. A somehow uncanny light resonates in the dark cinema halls. At a further glance, this central light ethereally underlines the rich architectural details of the theater interiors. You might want to confront Sugimoto’s work with Michael Wesely’s, a photographer that uses to take photographs featuringi  3 years long exposures: read “The passing of time“, (on Socks).
ryanpanos:

Theater Series | Hiroshi Sugimoto | Socks Studio
Starting in the late 1970s, Hiroshi Sugimoto took pictures of cinemas interiors and drive-ins with the aim of encapsulate the whole lenght of a movie in a single shot. He left the camera shutters open throughout the running of a movie and the glowing screen of the cinemas was left as a trace on each take. A somehow uncanny light resonates in the dark cinema halls. At a further glance, this central light ethereally underlines the rich architectural details of the theater interiors. You might want to confront Sugimoto’s work with Michael Wesely’s, a photographer that uses to take photographs featuringi  3 years long exposures: read “The passing of time“, (on Socks).
ryanpanos:

Theater Series | Hiroshi Sugimoto | Socks Studio
Starting in the late 1970s, Hiroshi Sugimoto took pictures of cinemas interiors and drive-ins with the aim of encapsulate the whole lenght of a movie in a single shot. He left the camera shutters open throughout the running of a movie and the glowing screen of the cinemas was left as a trace on each take. A somehow uncanny light resonates in the dark cinema halls. At a further glance, this central light ethereally underlines the rich architectural details of the theater interiors. You might want to confront Sugimoto’s work with Michael Wesely’s, a photographer that uses to take photographs featuringi  3 years long exposures: read “The passing of time“, (on Socks).
ryanpanos:

Theater Series | Hiroshi Sugimoto | Socks Studio
Starting in the late 1970s, Hiroshi Sugimoto took pictures of cinemas interiors and drive-ins with the aim of encapsulate the whole lenght of a movie in a single shot. He left the camera shutters open throughout the running of a movie and the glowing screen of the cinemas was left as a trace on each take. A somehow uncanny light resonates in the dark cinema halls. At a further glance, this central light ethereally underlines the rich architectural details of the theater interiors. You might want to confront Sugimoto’s work with Michael Wesely’s, a photographer that uses to take photographs featuringi  3 years long exposures: read “The passing of time“, (on Socks).
ryanpanos:

Theater Series | Hiroshi Sugimoto | Socks Studio
Starting in the late 1970s, Hiroshi Sugimoto took pictures of cinemas interiors and drive-ins with the aim of encapsulate the whole lenght of a movie in a single shot. He left the camera shutters open throughout the running of a movie and the glowing screen of the cinemas was left as a trace on each take. A somehow uncanny light resonates in the dark cinema halls. At a further glance, this central light ethereally underlines the rich architectural details of the theater interiors. You might want to confront Sugimoto’s work with Michael Wesely’s, a photographer that uses to take photographs featuringi  3 years long exposures: read “The passing of time“, (on Socks).
ryanpanos:

Theater Series | Hiroshi Sugimoto | Socks Studio
Starting in the late 1970s, Hiroshi Sugimoto took pictures of cinemas interiors and drive-ins with the aim of encapsulate the whole lenght of a movie in a single shot. He left the camera shutters open throughout the running of a movie and the glowing screen of the cinemas was left as a trace on each take. A somehow uncanny light resonates in the dark cinema halls. At a further glance, this central light ethereally underlines the rich architectural details of the theater interiors. You might want to confront Sugimoto’s work with Michael Wesely’s, a photographer that uses to take photographs featuringi  3 years long exposures: read “The passing of time“, (on Socks).

ryanpanos:

Theater Series | Hiroshi Sugimoto | Socks Studio

Starting in the late 1970s, Hiroshi Sugimoto took pictures of cinemas interiors and drive-ins with the aim of encapsulate the whole lenght of a movie in a single shot. He left the camera shutters open throughout the running of a movie and the glowing screen of the cinemas was left as a trace on each take. A somehow uncanny light resonates in the dark cinema halls. At a further glance, this central light ethereally underlines the rich architectural details of the theater interiors. You might want to confront Sugimoto’s work with Michael Wesely’s, a photographer that uses to take photographs featuringi  3 years long exposures: read “The passing of time“, (on Socks).

truthandmovies:

FILM REVIEW: “GONE GIRL” (David Fincher, 2014)

David Fincher’s trash procedural for the Twitter age taunts, tickles and, ultimately, terrifies.

Have you ever wondered what Fight Club would’ve been like had Brad Pitt and Edward Norton been a darling married couple? It would be nice to chime in with the old, “well wonder no more!” punchline, but that would only be half true with Gone GirlDavid Fincher’s box-cutter autopsy of a marriage which is forcibly dismantled and then forcibly reforged in the cobalt blue flames of ignominy, arrogance and deception. So, so much deception.

READ THE FULL REVIEW AT LITTLE WHITE LIES

iammattheweberle:

If not for this dashboard cam this officer would be praised, people would be raising money for his defense. Fox News would be depicting this officer as a brave and heroic police man and the “black man” as nothing but a thug intent on malicious harm. Racism is alive and thriving and those charged with protecting are instead waging a war. There are many reasons that I am a liberal and proud of that fact. Don’t ever let a republican tell you that racism is a thing of the past. That a war isn’t being waged by the religious right over what a woman should be allowed to do with her own body or that they have some moral obligation to define love. Republicans need to take hard look inward and say enough is enough already.

I feel the need to share something a bit outside of my film school field. But that I find incredibly important.

sams-film-stills:

2001: A Space Odyssey (1968) Dir. Stanley Kubrick
sams-film-stills:

2001: A Space Odyssey (1968) Dir. Stanley Kubrick
sams-film-stills:

2001: A Space Odyssey (1968) Dir. Stanley Kubrick
sams-film-stills:

2001: A Space Odyssey (1968) Dir. Stanley Kubrick
sams-film-stills:

2001: A Space Odyssey (1968) Dir. Stanley Kubrick
sams-film-stills:

2001: A Space Odyssey (1968) Dir. Stanley Kubrick
sams-film-stills:

2001: A Space Odyssey (1968) Dir. Stanley Kubrick
sams-film-stills:

2001: A Space Odyssey (1968) Dir. Stanley Kubrick
sams-film-stills:

2001: A Space Odyssey (1968) Dir. Stanley Kubrick
sams-film-stills:

2001: A Space Odyssey (1968) Dir. Stanley Kubrick

sams-film-stills:

2001: A Space Odyssey (1968) Dir. Stanley Kubrick

Ernest Hemingway once wrote ‘The world is a fine place and worth fighting for’. I agree with the second part.

- Se7en (1995) 

sixpenceee:

East of Kensington is a dark introspective look into the tale of Peter Pan. It shows us the grim reality of this fairy tale. It’s 20 minutes long. When I was 10, I was obsessed with Peter Pan (mostly Jeremy Sumpter from Peter Pan 2003). If an attractive male showed up at my window and whisked me away to a magical land full of fairies, mermaids, and pirates, I would be ecstatic. But this short film makes me doubt all of it. (Watch it here) (Masterpost of creepy short films)

First Production Short. Character Study


Salvador Dalí in collaboration with Walt Disney

Salvador Dalí in collaboration with Walt Disney

(Source: culest)

truthandmovies:

IN PRAISE OF DAVID FINCHER’S WOMEN

A formalist with a forensic eye for detail (and no patience for wading through emotional sludge), David Fincher holds his characters at arm’s length – perhaps all the better to see them in their entirety. Most of these characters are men; Fincher is, after all, a man’s man with a particular predilection for stories about fraternity in crisis (The GameZodiacThe Social Network) and the crumbling framework of masculinity in a late-capitalist society (Fight Club, The Social Network and – we think – Gone Girl). However, that is not to say that Fincher’s women are shrinking violets.

READ THE FULL ARTICLE ON LITTLE WHITE LIES

(art credit: stalkerae)

First Production Class of Grad School.

Character Study. First film shoot of Grad School. Getting into the swing of things and keeping it simple. Character Study. First film shoot of Grad School. Getting into the swing of things and keeping it simple. Character Study. First film shoot of Grad School. Getting into the swing of things and keeping it simple.

Character Study. First film shoot of Grad School. Getting into the swing of things and keeping it simple.

nxghtmvre:

Walt Disney's & Salvador Dali - Destino [x]