And Later When We Got Into The Car, He Took A Turn Down A Street That I Was Pretty Sure Was A Dead End.

1967, The Trip, Roger Corman

Photos from Gus Van Sant ‘Icons’ exhibition.  [originally posted by Roberto Paterlini‎ on facebook.]

The Method

© da-da-sk

Our life always expresses the result of our dominant thoughts.

Søren Kierkegaard (via philosophybits)

Masao Yamamoto  /Japanese, b. 1957

from the series  ‘Nakazora’, 1999

source -   DantéBéa

Robert Klein Gallery /info

‘The Godfather’ - Marlon Brando, James Caan, and Robert Duvall sharing a laugh off-camera during the filming of the famous wedding scene

via reddit

©  Daidō Moriyama  From the book “Another Country in New York" (1974.)

Withnail & I (1987)

ph. ©Murray Close

“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