Audrey Hepburn on the set of Funny Face (1956, photo by David Seymour) (via)
“Why, she was pressed, does she think she provoked such strong feelings of empathy from her audiences? After all, she was not a sex symbol (‘I sure wasn’t’), so what was it – her beauty, her vulnerability, her sense of humor, her sensitivity? – that gave her that special aura?
‘It’s impossible for me to know,’ [Audrey Hepburn] said with hesitation, ‘but if you asked me what I would like it to be, though it may sound presumptuous to say so, it’s an experience I’ve had with other performers who somehow make you open up to them. For me, it always has to do with some kind of affection, love, a warmth.’
‘I myself was born with an enormous need for affection and a terrible need to give it,’ she went on. ‘That’s what I’d like to think maybe has been the appeal. People have recognized something in me they have themselves — the need to receive affection and the need to give it. Does that sound soppy?’”
-excerpted from New York Times interview, April 1991
Salvador Dali & Ingrid Bergman on the set of Spellbound (1945, dir. Alfred Hitchcock)
Bergman: “It was a wonderful sequence that really belonged in a museum. The idea for a major part was that I would become, in Gregory Peck’s mind, a statue. To do this, we shot the film in the reverse way in which it would appear onscreen…I was dressed in a draped, Grecian gown, with a crown on my head and an arrow through my neck.”
Above: Diagram of a glass painting setup (Artist: E.G.Lutz, from his 1927 book The Motion Picture Cameraman)
Below: A behind-the-scenes photo showing a glass-shot setup for Slander the Woman (1923). This shot establishes the ice skaters on a frozen lake with the glass painting finishing off the mountains and lodge above their heads (via)
“One day I was given 20 minues to shoot [the Baby Jane reading rehearsal] from the catwalk above. At the time, Crawford was married to the president of Pepsi-Cola. A Pepsi bottle was next to her at all times, and she occasionally sipped from it. Without even looking upward, she sensed my movements on the catwalk – and while reading her lines, she would deftly move the bottle & its logo so that none of the other actors would obscure it in my shots.
In this shot, Crawford and Davis seem quite affable. They each had a portable dressing room. Crawford wanted certain adjustments made. She wanted a ledge for her social secretary to put papers on, and an air-conditioner. She also wanted several other things. She had the men take care of it. As they left Crawford’s dressing room with their tools, Davis just stood a few feet away watching. One of the grips said, ‘Hey Bette, anything we can do for you?’ She said, ‘No, thank you. Dressing rooms don’t make pictures.’
After the wrap each evening, Crawford would leave the sound stage followed by her entourage: hairdresser, makeup man, costumer, social secretary. Davis just left with Davis.”
-photographer Phil Stern (via)
“Now the questions that come to mind. Where is this place and when is it? What kind of world where ugliness is the norm and beauty the deviation from that norm? You want an answer? The answer is, it doesn’t make any difference.
Because the old saying happens to be true: Beauty is in the eye of the beholder, in this year or a hundred years hence, on this planet or wherever there is human life, perhaps out amongst the stars. Beauty is in the eye of the beholder. A lesson to be learned— in The Twilight Zone.”
The Twilight Zone’s crew looks on as Rod Serling performs his on-camera narration for the episode Static (1961) (via)
“As I grow older, the urge to write gets less and less. I’ve pretty much spewed out everything I have to say, none of which has been particularly monumental. I’ve written articulate stuff, reasonably bright stuff over the years, but nothing that will stand the test of time. The good writing, like wine, has to age well with the years, and my stuff is momentarily adequate.”
-Serling, 1972 (via)