Hans Finsler. Food Distribution, 1929.

James Dean rose to fame in the 1950s, most notably for his role in 𝑹𝒆𝒃𝒆𝒍 𝑾𝒊𝒕𝒉𝒐𝒖𝒕 𝑨 𝑪𝒂𝒖𝒔𝒆, for which he became a cultural icon as the ultimate bad boy.

Philosopher in Meditation painted by Rembrandt (1606 - 1669)

“We all got totally soused somewhere on the West Side, and I remember Monty shouting to Liz, ‘You are the only woman I will ever love,’ and Elizabeth slumped in a chair staring at him with those magnificent violet eyes and crooning, ‘Baby, oh baby,’ over and over again.” -Ed Foote on his last memory of Montgomery Clift.

Harold Lloyd in The Flirt (1917)

Good dialogue simply isn’t enough to explain all the infinite gradations of a character. It’s behavior—it’s what’s going on behind the lines.

“The very best screenplay I was ever sent was `Double Indemnity.’ It’s brilliant, but what’s amazing is that not one word was changed while we were shooting. Billy had it all there, and I mean all - everything you see on the screen was in the script. The moves, the business, the atmosphere, all written. When I mention `atmosphere’ in `Double Indemnity’ - that gloomy, horrible house the Dietrichsons lived in, the slit of sunlight slicing through those heavy drapes - you could smell that death was in the air, you understood why she wanted to get out of there, away, no matter how. And for an actress, let me say that the way those sets were lit, the house, Walter’s apartment, those dark shadows, those slices of harsh light at strange angles -all that helped my performance.” — Barbara Stanwyck

i just have to make it through the next few or tens or hundreds or thousands of weeks. until i'm dead

basically a lot of my problems boil down to me being really bad at waking up. and also really bad at going to sleep

The Women (1939) dir. George Cukor

Virginia Woolf, from a diary entry featured in “A Writer’s Diary”