And the Emmy goes to…
Photo credit: Christopher Polk/NBC/Getty Images


And the Emmy goes to…

Photo credit: Christopher Polk/NBC/Getty Images


"There’s not a single day that goes by that I don’t miss running to work to be able to work opposite you, my friend."

Bryan Cranston & Aaron Paul, Emmys 2014


this is my favourite vine ever

(vía pecoza)

Bryan Cranston and Aaron Paul thanking each other in their Emmy acceptance speeches

(Fuente: jaimescersei, vía cineydemas)

The Rocky Horror Picture Show (1975)

The Rocky Horror Picture Show (1975)

(Fuente: vintagegal, vía donchurroman)

Some Like it Hot (1959)

(Fuente: bunnyhepburn, vía bunnyhepburn)

"Oh, you can do better than that. Give him the teeth, the whole personality."

(Fuente: normajeanebaker)


5000 people were shown random YouTube videos. Scientists reconstructed the visual experience from brain activity. 

Here is the video

If you want to know more, here is the paper

And here is their website

(vía pecoza)


The Interiors of Wes Anderson’ in the latest issue of Apartamento #13

“You could compare Wes Anderson to an interior decorator,”says  Apartamento’s Editor-in-Chief Marco Velardi of today’s enchanting series, taken from the bi-annual title’s latest issue. With the director and screenwriter’s private house strictly off limits, the magazine traces the meticulously considered art of set design in his filmography: miniature brownstone apartments, nostalgic color schemes and embroidered and elaborate costumes. “I always say that a picture of someone’s home tells you a lot more about that person than any portrait possibly can,” muses Nacho Alegre, director and co-founder of Apartamento. “I imagine in a movie the time you have to describe a character is limited, so using the interiors to do so probably becomes something of a necessity.” An intricate visual language has become Anderson’s trademark; in his hands, set design becomes both a storytelling device and character trope, from his shot-on-a-shoestring debut, Bottle Rocket, to his latest saccharine fantasia, The Grand Budapest Hotel. Velardi adds: “Ultimately, if you look at his work there are a lot of interiors, with very peculiar and very precise work on the spaces and what people wear; Wes is passionate about every single detail, and that’s why it’s fascinating for us.”  

h/t nowness

(Fuente: vmagazine, vía wesleysanderson)

127 Hours (2010, Danny Boyle)

(Fuente: cinemaspam, vía fdo7)