Infinity Blues

I'm Stephen
&
I'm doomed

22//Dublin



Twitter: @Stephenmaaaaac

(Source: taylors1928, via rein-east)

amazingcinematography:

Inside Llewyn Davis (2013)

Directed by: Ethan Coen, Joel Coen
Cinematography: Bruno Delbonel ASC, AFC
Cameras: Arricam LT, Cooke S4 Lenses, Arricam ST, Cooke S4 Lenses
Format: 35mm (Kodak Vision3 500T 5219)
Mode: spherical
Aspect Ratio: 1.85:1

digitalfaun:

FLASHERS AT THE NATIONAL
By Luke Winter
* * *
"We’re not supposed to talk about it. But the policy was changed three weeks back and don’t see how they’d be able to reverse it now."
"And has it got louder?" I ask.
"Har har", his eyes flash, "Oh most definitely. What with their clicking of shutters, louder. And who wants to see that red beam all over the painting that you’re looking at? And they look less at the paintings now that they’re allowed cameras, as if by taking a photo they’ve conquered the painting, but they’ve not looked at it, whereas before they’d stand and try and claim some little victory of comprehension, even if it was just reading the information plaque. But the vast majority don’t really know how to use their cameras and so you get a lot of flashers."
He grins, “No flashing in The National”.
[I’m thinking of The Dreamers as they thought of Bande à Part and running round the Louerve hand-in-hand.]
"Have you ever had flashers?" I ask. "Like, were there ever flashers in The National?"
"Well about once every five years" he laughs, "It’s a public space. So you get all sorts in here don’t you."
Assenting might seem too eager. I stay a-thousand-mile-stare, and after a pause, nod.
"But I mean it saves us getting into trouble all the time with visitors, telling them that they can’t be taking photos, and of course they say, ‘Well where does it say that?’. And you can’t very well say to them, that the management, some of the management, without much intelligence decided that they were against signs of any kind. And oh yes, you’re staring at one of my favourites. Truly remarkable isn’t it. Beats any of the other paintings in this room. I’d put it above the Monet’s."
September, The National Gallery, London

digitalfaun:

FLASHERS AT THE NATIONAL

By Luke Winter

* * *

"We’re not supposed to talk about it. But the policy was changed three weeks back and don’t see how they’d be able to reverse it now."

"And has it got louder?" I ask.

"Har har", his eyes flash, "Oh most definitely. What with their clicking of shutters, louder. And who wants to see that red beam all over the painting that you’re looking at? And they look less at the paintings now that they’re allowed cameras, as if by taking a photo they’ve conquered the painting, but they’ve not looked at it, whereas before they’d stand and try and claim some little victory of comprehension, even if it was just reading the information plaque. But the vast majority don’t really know how to use their cameras and so you get a lot of flashers."

He grins, “No flashing in The National”.

[I’m thinking of The Dreamers as they thought of Bande à Part and running round the Louerve hand-in-hand.]

"Have you ever had flashers?" I ask. "Like, were there ever flashers in The National?"

"Well about once every five years" he laughs, "It’s a public space. So you get all sorts in here don’t you."

Assenting might seem too eager. I stay a-thousand-mile-stare, and after a pause, nod.

"But I mean it saves us getting into trouble all the time with visitors, telling them that they can’t be taking photos, and of course they say, ‘Well where does it say that?’. And you can’t very well say to them, that the management, some of the management, without much intelligence decided that they were against signs of any kind. And oh yes, you’re staring at one of my favourites. Truly remarkable isn’t it. Beats any of the other paintings in this room. I’d put it above the Monet’s."

September, The National Gallery, London

You can stay in the same place and still find ways to leave people. - Beginners (2010)

(Source: mashamorevna, via cinemove)

tellmeinthemorning:

Fucked Up - The Art of Patrons

Man, I love Fucked Up so much

Oh its back, baby

(Source: oldfilmsflicker, via salesonfilm)

Stunning poster for Jason Reitman’s Men, Women & Children 

filmcapturesv2:

The Deer Hunter | Michael Cimino 

supervillain:

Stereo (1969), dir. David Cronenberg

(via mfhumanfax)

Punch-Drunk Love (2002)

(Source: cinegasmic, via salesonfilm)

Ain’t Them Bodies Saints (2013)

(Source: jacques-audiard, via jacques-audiard)

sukoot:

Peter MartensenOne Finger Fuga 1993

sukoot:

Peter Martensen
One Finger Fuga 
1993

(Source: -circa, via tankgrrrrl)

brand-upon-the-brain:

Palo Alto (Gia Coppola, 2013)