Paul? He’s so funny, and that was something I wasn’t expecting. He’s got a great sense of humour and really allows you to take time on screen which can be sort of unnerving at times. He’ll just keep the camera rolling and let you find it. It’s wonderful. Amy Adams
Manhattan (Woody Allen, 1979), Midnight In Paris (Woody Allen, 2011): The city is as much a character as any of the people.
I know some people don’t really like this ambiguous ending, but I think it’s great. This script has fantastic screen direction from Steve McQueen and Abi Morgan executed perfectly from Michael Fassbender. I love how nothing is spoken, but we can see all the emotions described just from Fassbender’s facial expressions. The final ending is changed quite a bit, but the same idea is still there. There has been some debate as to whether he succumbs to his urges or not, but to me that’s not what’s important in this scene. I think the message that this scene gives is that because he is an addict he has to go through a struggle with himself and his urges and his emotions every time he finds himself in a similar situation. This ending shows that for his character, it’s never really over (not at least until he gets some major help) and we can tell by that last look he gives that he is disgusted and ashamed by that, but at the same time, he still can’t look away.
Oh I’d forgotten about this
Lara Stone by Ryan McGinley for Vogue UK
The Wizard of Oz Book by Dennis Neuschaefer-Rube
“The Wizard of Oz”, all of the 140,000 filmstills of the movie are published. On 98 pages the images are arranged chronologically in rows from left to right. One page contains 1440 pictures which correspond to exactly one minute of film. So the page numbers also show the minute of the film from which the stills were taken.