Title: We Move Lightly
Artist: Dustin O'Halloran
Played: 93 times

uriborges:

Like crazy:

I thought I understood it, that I could grasp it, but I didn’t, not really. Only the smudgeness of it; the pink-slippered, all-containered, semi-precious eagerness of it. I didn’t realize it would sometimes be more than whole, that the wholeness was a rather luxurious idea. Because it’s the halves that halve you in half. I didn’t know, don’t know, about the in-between bits; the gory bits of you, and the gory bits of me.”


Director Martin Scorsese claims that the most important shot in the movie is when Bickle is on the phone trying to get another date with Betsy. The camera moves to the side slowly and pans down the long, empty hallway next to Bickle, as if to suggest that the phone conversation is too painful and pathetic to bear. [x]

Rosamund Pike photographed by Nadav Kander

“Good God, we’re in a lot of trouble if people think that Amy represents every woman. Feminism is not that fragile, I hope. What Amy does is to weaponize female stereotypes. She embodies them to get what she wants and then she detonates them. Men do bad things in films all the time and they’re called anti-heroes. Amy may not be admirable, but neither are the men on ‘The Sopranos.’” — Gillian Flynn (via danedeham)