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“Pre-production involved trading a gamut of visual references with Weir—the British soft-(and not so soft-)core photographer David Hamilton; the 1967 Swedish film Elvira Madigan; the masterworks of the Australian impressionist painters—and then finding a way to reproduce their vaporous, almost prurient veneer. The cinematographer spent weeks in late 1974 and early 1975 camera-testing filtration with a variety of mosquito nets and gauzes, dyed to different shades and hues. Unsatisfied with his results, he went to plan B: one bright day in the heat of summer, he walked into a Sydney department store, went up to the counter, and asked to see their wedding veils.

That every frame of the picnic scene was shot with a bridal veil over the lens exemplifies the kind of expansive, even excessive creativity that would eventually win Boyd an Oscar in the same category as Seale.”

Wedding veils, pan flutes, and the perfect day for a picnic

Picnic At Hanging Rock, Peter Weir, 1975

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CECILIA LISBON in The Virgin Suicides (1999) | dir. Sofia Coppola

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you can sit in the kitchen and have strange memories

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Tell you what, we coulda had a good life together! Fuckin’ real good life! Had us a place of our own. But you didn’t want it, Archie’s dad! So what we got now is this old tree stump behind the construction lot! Everything’s built on that! That’s all we got, boy, fuckin’ all. So I hope you know that, even if you don’t never know the rest! You count the damn few times we have been together in nearly twenty years and you measure the short fucking leash you keep me on - and then you ask me about Mexico and tell me you’ll kill me for needing somethin’ I don’t hardly never get. You have no idea how bad it gets! I’m not you… I can’t make it on a coupla high-altitude fucks once or twice a year! You are too much for me archies dad, you sonofawhoreson bitch! I wish I knew how to quit you.

Well, why don’t you? Why don’t you just let me be? It’s because of you FP, that I’m like this! I’m nothin’… I’m nowhere… Get the fuck off me! I can’t stand being like this no more, FP.

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Season 5, Episode 9 | Chapter Eighty-Five: Destroyer

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a classic only a cult could love…

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And, yeah, it's funny because even in like, in this episode, when [Maria]'s like, oh, gosh, you- and you go to Liz, you're like "You two have that, like, stare into each other's eyes soulmate shit, but me? Whatever, I can take it or leave them." And then [Brendan's] character says the same thing. You're like "Yeah, I don't get attached. I can leave anyone anytime." Y'know? And then I think it's so cute that behind the scenes, you guys are like "We should just surrender into magic." Oh my gosh. -Aimee Garcia

THE EX-FILES PODCAST

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some asoiaf characters would thrive if displaced into another environment. for example dany should be in a 2010’s horsegirl movie, sansa should be in a glee-esque teen love quadrangle where she’s at least three separate gay guy’s beards, and rickon should have access to mountain dew and cheetos and one of those ipads with the rubber handled cases and disgusting screen protectors. i do think however that if you took like. theon. out of asoiaf he’d fit right into the modern world but his ass would not be doing well. i know five theons and they’re all the most insufferable men to ever walk this earth. he has six separate instagram accounts for all facets of his personality and his tweets from 2012 where he calls greenlanders physiologically inferior to #ironbornmight get drudged up and he becomes unemployable. asha won’t let him bunk with her because qarl is convinced that he’ll steal their silverware and pawn it (he will.) this being said like he should have been born in this time he just wasn’t. like he was created to get roofied in shitty clubs and have complexes about wearing eyeliner as a guy and get called slurs by his dad for wearing crop tops unfortunately he was written into a storyline about being subject to five saw traps at once and also being nineteen and gay in george rr martins’ magnum opus fantasy series a song of ice and fire.

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a desire to take the father's place in the family, therefore owning everything they have — from clothing to women

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lock yourself in a box room at the top of the house in order to be alone with your aching miseries

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it’s happening again.

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SPIKE in BUFFY THE VAMPIRE SLAYER | Fool for Love

“It’s a perfectly perfect word as many words go, but the bother is nothing rhymes, you see.”

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Alfred Eisenstaedt, Ice Skating Champion, Melitta Brunner, rehearsing in St. Moritz, 1934

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a specific detail i love in stories is when two characters who share a deep understanding of each other nevertheless only addresses each other by their title or last name, which somehow makes it even more intimate than if they were to just call each other by their first names. it’s about the veil of propriety, the false detachment and imposed distance, it’s about the restraint, the high esteem held in each other, the meeting-each-other-at-the-boundary-and-stop-before-crossing-it, making it even clearer they both KNOW where it is; all at once both full of yearning and of fond contentment

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ouro preto, minas gerais, brasil: two girls during holy week, 1987 by claudia ferreira

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MOVIE REC GAME | @sothischickshe asked: 4. a black and white film 

All About Eve (1950) dir. Joseph L. Mankiewicz