I used to build dreams about you.
F. Scott Fitzgerald (via suspend)


if they were on tumblr (part 1)


We went to this burger place for lunch (turned out to be a drag bar which was shitty in other ways) but the walls were papered with rolling stones covers and it just really becomes obvious when you see lots of magazine covers next to each other that men are treated as people and women are treated as objects.

Robert Redford and Paul Newman, Butch Cassidy and the Sundance Kid, 1969

Robert Redford and Paul Newman, Butch Cassidy and the Sundance Kid, 1969

His face visibly poses a problem for him. If it were up to him, Mads Mikkelsen would change it. The Danish actor considered hiring a surgeon and even, he said, resorting to acid. […] In this hated face, there is first, according to the actor, the cheekbones. “All too prominent ” he says. Then, huge eyes, neither round nor really quite oval, “an unlikely geometry in fact”. “I am told they [make somebody depressed, sad, unhappy]*, and that’s probably right.” And finally, a huge mouth, in harmony with his eyes. “Directors have always told me it was the jaw of a predator, a very bad guy. This is probably one of the reasons why I inherited the role of Hannibal Lecter, the cannibalistic doctor created by Thomas Harris for the television series “Hannibal.” […] When he went back to Canada for the filming of the second season of “Hannibal”, Mads Mikkelsen asked to have a mirror in his dressing room. For once, the goal was to look at his face—not to destroy it. “Lecter is a man who sees beauty in ugliness. His values ​​are reversed.” In the skin of this monster, Mads Mikkelsen can probably finally appreciate [his face].<br>
Son visage lui pose visiblement un problème. Si cela ne tenait qu’à lui, Mads Mikkelsen en changerait. L’acteur danois a d’ailleurs songé à faire appel à un chirurgien et même, dit-il, à recourir au vitriol. […] Dans ce visage honni, il y a d’abord, selon l’acteur, ses pommettes saillantes. «Bien trop proéminentes», estime-t-il. Ensuite, ses yeux immenses, ni vraiment ronds ni tout à fait ovales, «à la géométrie improbable en fait». «On m’explique qu’ils filent le bourdon*, et c’est probablement juste.» Et, pour finir, une bouche démesurée, en harmonie avec son regard. «Les réalisateurs m’ont toujours expliqué qu’il s’agissait de la mâchoire d’un prédateur, d’un très sale type. C’est sans doute l’une des raisons pour lesquelles j’ai hérité du rôle d’Hannibal Lecter, le médecin anthropophage créé par Thomas Harris pour la série télévisée “Hannibal”.» […] Quand il a repris le chemin du Canada, pour le tournage de la deuxième saison d’«Hannibal», Mads Mikkelsen a demandé à avoir un miroir dans sa loge. Pour une fois, l’objectif était de se regarder – pas de se détruire. «Lecter est un homme qui voit la beauté dans la laideur. Ses valeurs sont inversées.» Dans la peau de ce monstre, Mads Mikkelsen peut sans doute enfin s’apprécier. <br><br>
*filent le bourdon is an expression which means to make someone sad

Samuel Blumenfeld, www.lemonde.fr, 28.08.2014 

This interview frames Mads’s career in terms of his face and how it is regarded by both him and others. The occasion of the interview is the French release of the film, The Salvation, but it discusses his other films, his relationship with Nicholas Winding Refn and Lars Von Trier. A better translation would be appreciated!

(via fallen-angels-once-in-heaven)


I offer you my hand, my heart. Jane, I ask you to pass through life at my side— to be my second self, and my best earthly companion.

Jane Eyre (2011), Cary Fukunaga


Astonishing Cinematography Cloud Atlas (2012)

Belief, like fear or love, is forced to be understood as we understand the Theory of Relativty and Principles of Uncertainty: phenomena that determine the course of our lives.
Yesterday, my life was heading in one direction; today, it is headed in another. Yesterday, I believed I would never have done what I’ve done today. These forces that often remake time and space, that can shape and alter who we imagine ourselves to be, begin long before we are born and continue after we perish. Our lives and our choices, like quantum trajectories, are understood moment to moment. At each point of intersection, each encounter suggests a new potential direction.


Mia Wasikowska, photographed by Max Abadian for ELLE Canada, Sep 2014.


Hands in The Knick

JFK in Rhode Island, September 1962.
JFK in Rhode Island, September 1962.
  • me: watching tv show
  • me: looks down at phone for 0.002 seconds
  • me: misses entire plot line of episode, introduction of 2 new characters, 1 main character dies, they are in a different country, at some point someone reproduced and offspring are spoiled and someone got a pet cat
what the fffffffffffffffheck
— me trying to be more family friendly (via spookyjacob)