Our Life Always Expresses The Result Of Our Dominant Thoughts.

Amelie (2001) | Dir. Jean-Pierre Jeunet

Flora Guiet

The Scientists - Swampland

every day at dusk when the sun fades my mind returns to the everglades a place alive with green mangroves and vine shotguns and snakes, alligator wine. nobody knows so they never think to visit where the atmosphere's so thick that you could kiss it I've never seen copper heads darting from their graves a once mighty oak’s red roots… in decay

In my heart there's a place called swampland nine parts water - one part sand...

Kaidan aka Kwaidan (1964)

Director: Masaki Kobayashi Cinematography by Yoshio Miyajima

The Virgin Suicides (1999) | dir. Sofia Coppola | USA

Cinematography by Edward Lachman

Hansel and Gretel (2007) | dir. Pil-sung Yim | South Korea

Once Upon a Time in Anatolia (2011) | dir. Nuri Bilge Ceylan

Cinematography by  Gökhan Tiryaki

“Mean Streets” isn’t so much a gangster movie as a perceptive, sympathetic, finally tragic story about how it is to grow up in a gangster environment. Its characters have grown up in New York’s Little Italy, and they understand everything about that small slice of human society except how to survive in it. Scorsese places these characters in a perfectly realized world of boredom and small joys, sudden assaults, the possibility of death, and the certainty of mediocrity. He shot some exteriors in Little Italy, where he was born and where he seems to know every nuance of architecture and personality (though most of the movie was shot in Los Angeles), and his story emerges from the daily lives of the characters. They hang out. They go to the movies. They eat, they drink, they get in sudden fights that end as quickly as a summer storm. Scorsese photographs them with fiercely driven visual style. We never have the sense of a scene being set up and then played out; his characters hurry to their dooms while the camera tries to keep pace. There’s an improvisational feel even in scenes that we know, because of their structure, couldn’t have been improvised. The movie’s scenes of violence are especially effective because of the way Scorsese stages them. We don’t get spectacular effects and skillfully choreographed struggles. Instead, there’s something realistically clumsy about the fights in this movie. A scene in a pool hall, in particular, is just right in the way it shows its characters fighting and yet mindful of their suits (possibly the only suits they have). The whole movie feels like life in New York; there are scenes in a sleazy nightclub, on fire escapes, and in bars, and they all feel as if Scorsese has been there.

Roger Ebert

Give more facts 😍❤️

hahah but give me some clues as to what you want to know please :3

- He… he partially learned how to play the saxophone for New York, New York

- He lived in Sicily for about two months to learn his lines for The Godfather

- He auditioned for the role of Sonny in the Godfather, but got the role of young Vito instead

- He learned how to drive to act as a Taxi Driver

- To prepare for his role on Taxi Driver he actually worked as a taxi driver lol

Liam Cunningham

The Virgin Suicides (1999) | dir. Sofia Coppola | USA

Cinematography by Edward Lachman