Shakespeare covers by Milton Glaser. 1963-4.
Anónimo
We have an exchange here talking about [the first sonnet of Dante Alighieri’s La Vita Nuova], which, of course, is reflected in what Hannibal says. He’s actually kind of talking about Clarice, if you listen to this speech. [Allegra]’s more cynical. She expresses this when she asks him that question. I think this is always him talking about Clarice. Most people missed that, but that’s what it is. I felt the underlying emotion of this film is affection. And in some instances you might even wonder, certainly from one direction, is it more than affection? It is dark because the story, of course, is essentially dark, but it’s kind of romantic at the same time. - Ridley Scott
It’s a haunting story and my ambition’s been that the music will be haunting. The great thing about this film is that you can literally read a million different versions of messages, of subtext, of substance into each scene. I can score this movie as an archetype of Freudian beauty-and-the-beast type fairy tale. I can score this as a horror movie. I can score this as a treatise on corruption in the American police force. I can score it as the loneliest woman on Earth. I can score this as the beauty of the Renaissance. I can do all these different things in each scene and I have to make up my mind: where do I want to see the character at which moment in time? I’ve come from this idea that it should really be a love story. But it can be a dark love story. I think using the word “passion” in its truest sense. I mean, [Hannibal and Clarice] are two people that should never be together. This is Romeo and Juliet, and so I’ve done a modern-day Romeo and Juliet. - Hans Zimmer
Madonna / Truth or Dare / 1991
“An unhealthy mind, even in a healthy body, will ultimately destroy health.”
- Manly Hall
“Ojos míos por qué están tristes a pesar de que me siento alegre palabras mías por qué son tan ásperas a pesar de que soy tierna actos míos por qué son tan estúpidos a pesar de que soy inteligente amigos míos por qué están agotados a pesar de que soy fuerte”
— Vera Pavlova
Photographer Sarah Schönfeld took liquid versions of drugs, both legal and illegal, and covered exposed negative film. Each drug interacted with the film differently, and the chemical reaction continued for variable amounts of time. She repeated the process for dozens of drugs and enlarged the negatives after the reactions were complete.
Visit her website to see more
Night Startled by the Lark, 1820, William Blake