Salvador Dali, Summer.

ez lesz

(Source: thegreatage)

15.Apr.14 9 hours ago


Laszlo Moholy-Nagy
Radio and Railroad Landscape

(via blushingcheekymonkey)


Francois & Bob

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Vintage image of Francois Hardy

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(Source: pepepotamus, via castizo)

(Source: withoneeye, via workman)


Oscar Rabin (born in 1928)

Old Montmartre, 1985

(via stardustmemoriesss)

I always thought, even when I was a critic, that the brutal and simplistic reaction of the spectator is a good thing. I know that back then in Cahiers, we praised very commercial films in trying to defend them from a point of view that was not that of the man on the street. But this point of view doesn’t bother me. If people want to take things literally in the film, things that I myself may not take literally, I don’t say that this goes against its meaning, I say that it’s a more unsophisticated way of receiving the film, that’s all. I absolutely take on board every interpretation. That doesn’t mean I have to accept them, but once I finish a film, it escapes me, it closes itself off from me, and I can’t enter it any more. It’s up to the public to penetrate through whichever door they wish. I am not speaking about critics, who claim to have found the key, the right key, the only one which opens the big entrance gate. But that’s not my problem any more, thank God. I am not looking for the keys to Hitchcock any more, like I used to.

-Eric Rohmer

[Senses of Cinema]

(Source: onfilmmaking, via directors-gone-wild)