“ I think I have a romantic sense of the world. When I’m in a relationship, I enjoy making a woman feel good. I like making her feel loved. I think sacrifice and compromise, all of those things are romantic. ”
Only God Forgives
・ ・ ・
Director: Nicolas Winding Refn
Director of Photography: Larry Smith
Jessica Chastain, photographed by Annie Leibovitz for Vogue, Aug 2014.
A lot of actors act intelligent, but Philip was the real thing: a shining, artistic polymath with an intelligence that came at you like a pair of headlights and enveloped you from the moment he grabbed your hand, put a huge arm round your neck and shoved a cheek against yours; or if the mood took him, hugged you to him like a big, pudgy schoolboy, then stood and beamed at you while he took stock of the effect.
Philip took vivid stock of everything, all the time. It was painful and exhausting work, and probably in the end his undoing. The world was too bright for him to handle. He had to screw up his eyes or be dazzled to death. Like Chatterton, he went seven times round the moon to your one, and every time he set off, you were never sure he’d come back, which is what I believe somebody said about the German poet Hölderlin: Whenever he left the room, you were afraid you’d seen the last of him. And if that sounds like wisdom after the event, it isn’t. Philip was burning himself out before your eyes. Nobody could live at his pace and stay the course, and in bursts of startling intimacy he needed you to know it.
No actor had ever made quite the impact on me that Philip did at that first encounter: not Richard Burton, not Burt Lancaster or even Alec Guinness. Philip greeted me as if he’d been waiting to meet me all his life, which I suspect was how he greeted everyone. But I’d been waiting to meet Philip for a long time. I reckoned his “Capote” the best single performance I’d seen on screen. But I didn’t dare tell him that, because there’s always a danger with actors, when you tell them how great they were nine years ago, that they demand to know what’s been wrong with their performances ever since.
There was a problem about accents. We had really good German actors who spoke English with a German accent. Collective wisdom dictated, not necessarily wisely, that Philip should do the same. For the first few minutes of listening to him, I thought, “Crikey.” No German I knew spoke English like this. He did a mouth thing, a kind of pout. He seemed to kiss his lines rather than speak them. Then gradually he did what only the greatest actors can do. He made his voice the only authentic one, the lonely one, the odd one out, the one you depended on amid all the others. And every time it left the stage, like the great man himself, you waited for its return with impatience and mounting unease.
We shall wait a long time for another Philip. - John le Carré (X)
By his own approximation, Bob assassinated Jesse James over 800 times. He suspected no one in history had ever so often or so publicly recapitulated an act of betrayal.
i could not find a better representation of me during chemistry in high school if I tried.
Happy Birthday Natalie Wood!
(July 20, 1938-November 28, 1981)
I didn’t know who the hell I was. I was whoever they wanted me to be.
The Ah Fei movies of the 1950s featured characters sporting James Dean hairstyles and mannerisms, but not all of them were meant to be heroes. The term “Ah Fei” denotes a young hoodlum, a delinquent or scapegrace in Cantonese. “Fei” literally means “fly, ” a metaphor for youth old enough to sprout wings and fly away from controlling parents, and once flown, usually degenerates into socially unacceptable modes of behaviour. The term is time-specific, being generally in use in the 1950s and 60s.
Days of Being Wild rather self-consciously alludes to the Ah Fei genre: first, in its Cantonese title A Fei Zhengzhuan (The Story of an Ah Fei), which was incidentally the Chinese title for Rebel Without a Cause when it was released in Hong Kong. Second, Yuddy alludes to Ah Fei metaphorically in a monologue early in the film: “I heard tell that in this world, there’s a bird without legs. It can only fly and fly. When it’s tired it sleeps in the wind. It lands on earth only once in its life. That is when it dies.” The bird and flight metaphor is already implicit in the Ah Fei label, which Yuddy obviously wears with some pride, and The Story of an Ah Fei is his story.
- Stephen Teo
Let me sing you a waltz
Out of nowhere, out of my blues
Let me sing you a waltz
About this lovely one night stand