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IT’S A WONDERFUL LIFE (1946) dir. Frank Capra

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“In an interview in 2002, Roger Ebert told Miyazaki that he loves the “gratuitous motion” in his films — the sighs, the walks, the background and foreground elements — the “extra.” Ebert says : Instead of every movement being dictated by the story, sometimes people will just sit for a moment, or they will sigh, or look in a running stream, or do something extra, not to advance the story but only to give the sense of time and place and who they are.

To which Miyazaki replies : We have a word for that in Japanese. It’s called ma. (間) Emptiness. It’s there intentionally. [claps his hands] The time in between my clapping is ma. If you just have non-stop action with no breathing space at all, it’s just busyness. but if you take a moment, then the tension building in the film can grow into a wider dimension. If you just have constant tension at 80 degrees all the time you just get numb.” (reposted)

SPIRITED AWAY / 千と千尋の神隠し 2001 — dir. Hayao Miyazaki / 宮崎駿 

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Gregory Peck, 1945

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Holiday (1938) dir. George Cukor Singin’ in the Rain (1952) dir. Stanley Donen and Gene Kelly

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LAUREN BACALL in TO HAVE AND HAVE NOT (1944) dir. Howard Hawks

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MARLENE DIETRICH in DISHONORED (1931) dir. Josef von Sternberg

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Ava Gardner (1940s)

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Jane Wyman

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CARY GRANT in THE AWFUL TRUTH dir. Leo McCarey

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Astonishing Silent Diva Esther Ralston at the very peak of her natural beauty.

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I haven’t met all of me yet.

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Marlene Dietrich in Blonde Venus (1932) dir. Josef von Sternberg

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Audrey Hepburn

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Designing Woman (1957) dir. Vincente Minnelli