Death by exile

Humphrey Bogart in Casablanca (1942)


fohk:

And in your little brain. You try to figure out, ‘Did she fuck someone tonight?’”

"No, see Clem. I assume you fucked someone tonight. Isn’t that how you get people to like you?"

Eternal Sunshine of the Spotless Mind (2004)
Michel Gondry


It’s like I’m reading a book, and it’s a book I deeply love. But I’m reading it slowly now. So the words are really far apart and the spaces between the words are almost infinite. I can still feel you, and the words of our story, but it’s in this endless space between the words that I’m finding myself now. It’s a place that’s not of the physical world. It’s where everything else is that I didn’t even know existed. I love you so much. But this is where I am now. And this who I am now. And I need you to let me go. As much as I want to, I can’t live your book any more.


“My father took me to see this film in 1950, when I was eight years old. And I’ve never forgotten it. I wouldn’t know how to begin to explain what this film has meant to me over the years. It’s about the joy and exuberance of film-making itself. It’s one of the true miracles of film history. What keeps nourishing me over the years is the spell the film casts, how it weaves the mystery of the obsession of creativity, of the creative drive. It all comes down to that wonderful exchange early in the film when Anton Walbrook confronts Moira Shearer at a cocktail party. ‘Why do you want to dance?’ he asks, and she answers, ‘Why do you want to live?’ The look on his face is extraordinary.’ Over the years, I’ve thought a lot about that exchange. It expresses so much about the burning need for art – the mystery of the passion to create. It’s not that you want to do it, it’s that you have to do it. You have no choice. You have to live it and it comes with a price. But what a time paying it.” ― Martin Scorsese


Their eyes stay on each other, the music pounding in the background.


movie requests, part 10 (requested by hippogrifs) »

↳ “i want you to hit me as hard as you can."
- fight club (1999)




“When we sleep, we dream. What we have gone through during the day gets reenacted in a form that is a very strange deformation of what had actually happened. Stoker is that kind of film. The beautiful fairy tale picture book that was read during the day becomes the material for such a dream. A fairy tale twisted into a bizarre, unfamiliar and frightful form. In other words, a nightmare one dreams after reading a fairy tale. (x)


- What are you doing here, honey? You’re not even old enough to know how bad life gets.

- Obviously, Doctor, you’ve never been a 13-year-old girl.



Michael Pitt in The Dreamers  (2003) directed by Bernardo Bertolucci


Romeo + Juliet (1996, dir. Baz Luhrmann)