Miss Braga
Ensaio de 1984 que saiu na Playboy dos EUA (Outubro) e na do Brasil (Setembro).
Achado bloguístico do dia: Show Me a Song
Wild Thing (The Troggs)
Música e mulheres. Associam-se músicas às musas que poderiam facilmente tê-las inspirado. Uma delícia.
Rosanna Schiaffino (1939 – 2009)
O Heróico Lobo do Mar (The Rover/L’Avventuriero, Terence Young, 1967)
Dirce Migliaccio (1933 – 2009)
E os ícones da infância estão a se esvair mesmo.
*Em tempos de Emília no Sítio do Picapau Amarelo
As Musas de George Cukor – Parte 1
Porque não faz o mínimo sentido ter feito uma seleção das atrizes de Allen e não do mais notório “diretor de mulheres”, o homem pela qual todas as divas clamavam: Mr Cukor.
Adrienne Ames (Girls About Town)
Agnes Fraser (The Women)
Aileen Pringle (The Women)
Alice Adair (What Price Hollywood?)
Alice Marble (Pat and Mike)
Amanda Blake (A Star Is Born)
Amanda Randolph (Heller in Pink Tights)
Angela Lansbury (Gaslight)
Anita Louise (Our Betters)
Ann Doran (Holiday)
Ann Dvorak (A Life of Her Own)
Ann E. Todd (Zaza)
Ann Harding (The Animal Kingdom)
Ann Morriss (The Women)
Ann Robinson (A Life of Her Own)
Ann Rutherford (Gone with the Wind)
Anna Karina (Justine)
Anna Magnani (Wild Is the Wind)
Anna Massey (The Corn Is Green)
Anna Q. Nilsson (Adam's Rib)
Anouk Aimée (Justine)
Audrey Christie (Keeper of the Flame)
Audrey Hepburn (My Fair Lady)
Ava Gardner (Bhowani Junction / The Blue Bird)
Barbara Darrow (A Life of Her Own)
Barbara Everest (Gaslight)
Barbara Jo Allen (The Women)
Barbara Pepper (The Women / My Fair Lady)
Barbara Leonard (One Hour with You)
Barrie Chase (Les Girls)
Beatrice Blinn (Holiday)
Beatrice Cole (The Women)
Beryl Wallace (The Women)
Bess Flowers (One Hour with You / Holiday / A Life of Her Own / A Star Is Born / Song Without End)
Betsy Blair (A Double Life)
Betty Blythe (The Women / Lust for Life / My Fair Lady)
Achado bloguístico do dia: Boulevard do Crepúsculo
Na verdade faz tempo que “achei” mas aquele lance de Musas Retroativas é sensacional, tanto que eu devia copiar e fazer um desses de musos, mas como não estou dando conta de fazer isso nem com os filmes de cada ano, provavelmente surtaria se fosse para escolher todos os gostosos de todos os malditos anos do cinema, por isso o senhor Renato Felix tem todo o meu respeito.
Hawks
Mr Hawks realmente muito preocupado com o salto de Miss Dickinson durante as filmagens de Rio Bravo (1959)
Cahiers: What period of work do you prefer? Script, shooting, editing?
Hawks: I hate editing.
Cahiers: But you do the editing of your films?
Hawks: Oh, yes! Simultaneously with the shooting, if possible. When I started out in this profession, the producers were all afraid that I made a film too short because I didn’t give them enough film for editing. And I say: “I don’t wanto the movie in the cutting room, I want to make it myself on the set, and if that doesn’t suit you, too bad”. That’s not to say that editing isn’t a chore, particurlarly when you haven’t done a good job with the shooting. Editing is a horror for me because I look at my work for a second time and say that’s pretty bad, and that, and also that – The difficult work is the preparation: finding the story, deciding how to tell it, what to show. Once you begin shooting you see everything in the best light, develop certain details, and improve the whole. I never follow a script literally and I don’t hesitate to change a script completely if I see a chance to do something interesting. I like to work in the scenarios. Some of my best movies were written in very little time. Scarface took only eleven days, story and scenario.
Howard Hawks Interview – Jacques Becker/Jacques Rivette/François Truffaut, 1956
Nota: Isso explica porque o homem gostava mesmo de fazer remakes dos próprios filmes.
