truth

(Source: i-am-the-oracular-spectacular, via alltheworldwillbegrand)

Tarantino on the inspiration for Pulp Fiction

fuckyeahdirectors:

“So I thought the idea that would, in the case of Pulp Fiction, would be kind of cool, was to take three separate stories, and make them the oldest stories in the book, whether it be, um…Vincent’s character, the hoodlum, has to go out with the boss’s lady, but don’t touch her! And there’s the whole history of people who have touched her, and what happens. Well we’ve seen that before, a zillion times…and the case of the Bruce Willis story, that the boxer’s supposed to throw the fight, and he doesn’t, and now the mob’s after him…we’ve seen that story a million times as well. And one of the things I thought about, like, the third story, was basically kind of the beginning of, at that time, almost every Joel Silver movie, which would start off with like a couple hit men showing up, boom boom, alright, ‘you wanna witness something witness this!’ (makes gun shooting noise, laughs). And then they shoot the guy and it cuts to Arnold Schwarzenegger walking through the forest and eventually he’s gonna meet those guys. And so I thought, what happens if we hung out with them? All night long? Or…all day long? After they’ve killed the guy, what happens with the rest of their day? And so it was like taking these, these chestnuts and putting them together and then, actually having the characters kind of intertwine and it all kind of takes place in one…city, and it’s an environment that they all live in, and characters kind of know each other, but you don’t know that for a while. And we’re just kind of hanging out with them for those two days.” - quentin tarantino on the inspiration for pulp fiction

(Source: tayshathefilmgeek)

Doe Eye featured in this weeks issue of Billboard Magazine.  Grab your copy!

doeeye:

HOLY SHIT!! in this week’s issue of @billboard magazine. Pick up a copy!! …..excuse the mean mugggg #doeeye #chevyBOTB (Taken with instagram)

kimikoala:

HOW TO LOVE A WOMAN

“You may not be her first, her last, or her only. She loved before she may love again. But if she loves you now, what else matters? She’s not perfect - you aren’t either, and the two of you may never be perfect together but if she can make you laugh, cause you to think twice, and admit to being human and making mistakes, hold onto her and give her the most you can. She may not be thinking about you every second of the day, but she will give you a part of her that she knows you can break - her heart. So don’t hurt her, don’t change her, don’t analyze and don’t expect more than she can give. Smile when she makes you happy, let her know when she makes you mad, and miss her when she’s not there. -Bob Marley 

Always reblog.

(via lauraho)

bluprint:

I scream, you scream.. (by balsamia)

(via bluprint)

Orson on editing - sums it up quite beautifully.

strangewood:

“The only moment where one can exercise any control over a film is in the editing. But in the editing room, I work very slowly, which always unleashes the temper of the producers who snatch the film from my hands. I don’t know why it takes me so much time: I could work forever on the editing of a film. For me, the strip of celluloid is put together like a musical score, and this execution is determined by the editing; just like a conductor interprets a piece of music in rubato, another will play it in a very dry and academic manner and a third will be very romantic, and so on. The images themselves are not sufficient: they are very important, but are only images. The essential is the length of each image, what follows each image: it is the very eloquence of the cinema that is constructed in the editing room.”

Orson Welles - Cahiers du Cinéma, No. 84, June 1958. [x]