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SUCCESSION (2018-2023) J. SMITH-CAMERON as GERRI KELLMAN DAGMARA DOMIŃCZYK AS KAROLINA NOVOTNEY

The WORK WIVES are not getting out.

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romangerri + physical closeness (almost touching but not really)

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— OLIVIA (1951) dir. Jacqueline Audry

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I’m taking her outta here, away from you!

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Jean Arthur & Marlene Dietrich in A Foreign Affair (1948) dir. Billy Wilder

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Shanghai Express (1932) dir. Josef von Sternberg

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Marlene Dietrich in Shanghai Express (1932) dir. Josef von Sternberg

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Ruth Wilson by Rankin for InStyle UK, March 2016

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MARILYN MONROE in colour - at a press conference, June 1956

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Mary Malone + her very heterosexual collection of shirts

midnightchapter

I started testing objects to see if the particles would respond differently. I saw more activity when the items were man-made - a chess piece, my I Ching box in particular. Finally, in a moment of madness, I attached myself. But it was only afterwards, when I was lost in thought, that it happened. The set of particles made contact. They seemed to be… conscious.

summers-in-hollywood

Grace Kelly rehearsing a fencing scene on the set of The Swan, 1956

ritahayworrth

I remembered once reading in a book that long ago they used to put insane people into pits full of snakes. I think they figured that something which might drive a normal person insane, might shock an insane person back into sanity. Did you ever hear of that? Olivia de Havilland as Virginia Stuart Cunningham in The Snake Pit (1948) dir. Anatole Litvak

ceremonial

Marie Antoinette (2006), dir. Sofia Coppola

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Picnic at Hanging Rock (1975) dir. Peter Weir

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Céline on creating Marianne’s workshop and the importance of the curtain

(Go show some love to @bereaving, she’s doing incredible work !)

“Here we have the development by the character of her own set. There is also the choice of accessories and furniture: boxes, wood, very few ostentatious things. The painter’s workshop, we obviously worked a lot on it, we gathered a lot of information, both with the set decorator and the painter Hélène Delmaire who is the double of Marianne and who is the creator of those works of art.”

“We scrupulously respect the usage, the size of the canvas, the different steps of coating and preparation.”

“Here we lay down a rule : the curtain as both a limit and a secret. All my films so far have been built on secrecy. This is the first film where the secret does not last. It’s almost the reservoir, the reserve of what will be said.”

Click here to see more translated parts of the DVD commentary

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