Mit 51 Jahren, zweifach geschieden und völlig mit dem Gedanken an die Ehe abgeschlossen, begegnete Audrey Hepburn Robert Wolders. Er war 43. Witwer. Und er empfand genauso. Keine Zeremonie. Keine Gelübde. Keine Ankündigung. Nur zwei Menschen, die beide geliebt und verloren hatten und irgendwie zu demselben stillen Schluss gekommen waren – dass sie einfach einander wollten. Sie schufen etwas, das die Welt selten feiert, weil es nicht in die übliche Geschichte passt. Keine Hochzeitsfotos. Keine Schlagzeilen zum Jahrestag. Nur 13 Jahre ganz normaler Tage, die durch den Menschen, mit dem man sie teilt, außergewöhnlich werden. Robert begleitete sie auf ihren UNICEF-Missionen in einige der ärmsten Regionen der Welt – Äthiopien, Sudan, El Salvador – und sah die Frau, die er liebte, im Staub neben hungernden Kindern knien und sie mit denselben Händen halten, die einst Givenchy auf den größten Bühnen der Welt getragen hatten. Er sah sie in ihrer Gesamtheit. Die Ikone und die Frau dahinter. Als 1992 der Krebs kam, wich er ihr nicht von der Seite. Er begleitete sie zu jedem Arzttermin, zu jeder Behandlung, zu jedem Tag, den die Welt mitbekam und zu jedem, den niemand mitbekam. Er bereitete ihr das Essen zu. Er hielt ihre Hand. Er blieb einfach da – mit einer unaufdringlichen, aber unerschütterlichen Beständigkeit. Audrey Hepburn starb am 20. Januar 1993 in seinen Armen. Sie war 63 Jahre alt. Robert heiratete nicht wieder. 25 Jahre lang lebte er zurückgezogen, bewahrte ihr Andenken und sprach mit derselben Wärme von ihr, die er immer hatte. Wenn ihn Interviewer nach ihr fragten, sprach er nicht in der Vergangenheitsform, wie man es tut, wenn etwas abgeschlossen ist. Er sprach über sie, wie man über jemanden spricht, der noch da ist. Als Robert Wolders 2018 starb, war sie ihm immer noch nahe. Ihre Liebe hatte keine Bescheinigung. Sie brauchte keine. Sie bewies sich nicht in einem einzigen öffentlichen Moment, sondern in tausend privaten – in der Geduld, in der Präsenz, in der täglichen Entscheidung zu bleiben. *Manche Lieben brauchen keine Zeremonie, um echt zu sein.* Sie beweisen sich in den stillen Entscheidungen, die jeden Tag getroffen werden – da zu sein, zu bleiben, immer wieder denselben Menschen zu wählen, selbst wenn die Welt nicht mehr zuschaut. Geschichte ClassicCinema legends goldenera hollywood

John Frankenheimer on the kind of training & mindset that is required to become a great director: "At the end of the day you have to be a great storyteller. And you have to be able to master the tools that you have to tell the story, which are, in order of importance, the script, the actors, and then the technical means. You should have studied drama, how it works, the three-act structure. I think that’s basic. You have to be able to communicate with actors. It’s very well for William Wyler to say, “I just want it better,” and do 30 or 40 takes, but there’s only one William Wyler. And you have to find a way to master the tools of your trade. There are so many people making movies today that know absolutely zero about the camera. To my mind, that’s personal su!c!de. They say to the cameraman “Well, how should we photograph this scene?” And the cameraman photographs it the way he or she thinks is best. That’s wrong. The young director should have a collaborative relationship with the cameraman the way Wyler and Welles did with Gregg Toland. A director has to have tremendous input into where the camera is, what it sees and how the film will be edited. You have to have knowledge to do that. They may even learn some of it in film school, but there’s no substitute for going out and doing it." ("John Frankenheimer: Interviews, Essays & Profiles", Edited by Stephen B. Armstrong, 2013) Clip from: The Letter (1940) Director: William Wyler

Billy Wilder explains how the commercial failure of "Ace in the Hole" (1951) changed his view about the audience: "Wilder: 'Ace in the Hole' (1951) was a very peculiar thing. I was very fond of the picture—I got wonderful, wonderful reactions to it from more serious people. But for some reason or other, people did not want to see that grim a picture, that boasted the guy in the hole there, and the reporter, Mr. Kirk Douglas. It was very somber. It was one of my most somber pictures. And they did not believe me that when somebody’s a newspaperman, they are capable of that behavior. Interviewer: Very much ahead of its time. Wilder: [Shrugs.] Yeah. Interviewer: In this current age of tabloid culture, 'Ace in the Hole' has never felt more up-to-the-minute. Is it amusing to you, how this film has held up? Wilder: Yeah, that’s very funny, I must say. It was a complete failure. It was just... I don’t know. I just changed my mind about the audience. I just think that if you do something very fine, that they will get to the core of the thing, what it’s about, what it’s really about. But they never, at the time, they never gave it a chance. Somebody in an editorial, I think, in Life magazine said that “Mr. Wilder should be deported.” I felt that I was not with it anymore. That I wrote against the audience, the people who paid, in those days, a dollar fifty, two dollars. They felt robbed. They wanted to be entertained, entertained in a serious way, but not too serious a way. I don’t know. Then again, they did go for 'Double Indemnity' (1944). You can never, never, never predict an audience’s reaction. You never know how it’s going to affect them. But I hear about 'Ace in the Hole' quite a bit these days." ("Conversations with Wilder", Cameron Crowe, 1999) P.S: On this day, 75 years ago, "Ace in the Hole" (1951) premiered in Albuquerque, New Mexico, USA.

Art by Al Williamson

Most people don't know the original lyrics to the TV show MASH when it was a movie: Suicide is painless It brings on many changes And you can do the same thing if you please.

And the Oscar goes to....

Insane to me that Spielberg made both these films in the same year, and supervised post-production on one whilst directing the other. Jurassic Park became the highest-grossing film of all time; Schindler, one of the greatest films ever made. Annus mirabilis, indeed.

Bari Weiss must spend her days and nights on her knees to keep this ridiculous position she knows nothing about how to command. She’s about as useless as tits on a bull with all her obsolete knowledge and extremely STUPID ideas. What a putz!!!

you sound like a disguting, miserable old man, who has nothing better to do, other than shit on deceased people. but of course, even with all the good reports of hexum, you're the only one speaking bad about him

Six former #60Minutes staffers spoke to Variety about the turmoil that has unfolded under CBS News chief Bari Weiss. “I have a feeling that Bari will not be overseeing ‘60 Minutes’ for very much longer,” Steve Kroft tells Variety. “I think once the deal gets done with Warner Bros., people will demand that she be let go or move into another position. Everything she’s touched has turned to shit. Everything she’s touched has gone colossally wrong. And I don’t think she’s shown any talent for this position. She’s only fulfilling other people’s agendas.” Read more: wp.me/pc8uak-1lHmFn

If I was a member of the Metcalf family, I would civilly sue the Anthony family for every single penny raised on this GiveSendGo.

Jeeze… you ppl will believe ANYTHING. THIS IS A THIRD PERSON ACCOUNT from an excerpt in the book ‘Dancing on the Ceiling: Stanley Donen and his Moves’ by Stephen M. Silverman. And you’ve swallowed a PR hoax. This is not the story Cart Grant told me several times in person.

Jeeze… you ppl will believe ANYTHING. THIS IS A THIRD PERSON ACCOUNT from an excerpt in the book ‘Dancing on the Ceiling: Stanley Donen and his Moves’ by Stephen M. Silverman. And you’ve swallowed a PR hoax. This is not the story Cart Grant told me several times in person.

Help me choose the most elegant hairstyle for a 60-year-old woman! 💇‍♀️✨ Which look do you love the most? ❤️ 1, 2, 3, or 4? 👇 Your vote could help someone find their perfect hairstyle! 😊

Audrey Hepburn recounts the first time she met Cary Grant: “Another marvelous leading man Stanley introduced me to was Cary Grant, although, I must confess, I very much doubt if I left him with the best first impression. Cary and I had never met before we did Cha-rade, so there we all were in Paris, about to have dinner at some terribly smart bistro. As it was early spring, Cary, who always dressed impecca-bly, was wearing an exquisite light-tan suit. I know I was thrilled to meet him, and I must have been terribly excited, because not ten seconds after we started chatting I made some gesture with my hand and managed to knock an entire bottle of red wine all over poor Cary and his beautiful suit. He remained cool. I, on the other hand, was horrified. Here we’d only just been introduced! If I somehow could have managed to crawl under the table and escape without ever having to see him again, I happily would have. Instead I attempted my best under the circumstances. I apologized and apologized. Stanley, though I could hardly look at him, diplomatically concealed his acute embarrassment, while Cary, still dripping wine, nonchalantly removed his jacket and pretended, very convincingly, that the stain would simply go away.” Excerpt from the book ‘Dancing on the Ceiling: Stanley Donen and his Moves’ by Stephen M. Silverman 🎬 Charade (1963)

Your statement is absolutely supported by viewings of "Paths of Glory" and "Barry Lyndon" - there's no there there in these movies, and how anyone could think they are good is dumbfounding

During the filming of Full Metal Jacket, the perfectionist Stanley Kubrick was notoriously exasperated by his British crew’s rigid “tea break” culture, which, in his view, disrupted the film’s rhythm. ⁠ ⁠ This culture clash led to frequent tensions, as Kubrick’s relentless work style clashed with the union-mandated breaks that were a common feature on film sets in the United Kingdom. ⁠