Ella in Blue

oldhollywood: Sissy Spacek & Martin Sheen on the set of Badlands (1973, dir. Terrence Malick) Sheen: “One night I got a call saying that [Malick] decided to use me and would I be willing to do it. And I said, ‘Why sure, I’d be happy as Larry’. [The next morning], I was driving along Pacific Coast Highway and I was listening to a Dylan song called Desolation Row..and suddenly it dawned on me what had just happened - that I had the role of my life. And I began to weep uncontrollably with joy and I had to pull off the side of the road and just stop and reflect on what was happening. And it was one of the most profound moments of my life because it was the realization of a dream that I never thought would happen to me.” Spacek:”It was a very passionate kind of working experience. No one was making any money and everyone was there because we were desperate to work on the film…It was probably the first film that I felt creatively engaged in. Terry would ask me questions about the character. I felt like I wasn’t just an actor for hire…After working with Terry, I was like, ‘The artist rules. Nothing else matters.’ My career would have been very different if I hadn’t had that experience.” (via)

oldhollywood:

Sissy Spacek & Martin Sheen on the set of Badlands (1973, dir. Terrence Malick)

Sheen: “One night I got a call saying that [Malick] decided to use me and would I be willing to do it. And I said, ‘Why sure, I’d be happy as Larry’. [The next morning], I was driving along Pacific Coast Highway and I was listening to a Dylan song called Desolation Row..and suddenly it dawned on me what had just happened - that I had the role of my life. And I began to weep uncontrollably with joy and I had to pull off the side of the road and just stop and reflect on what was happening. And it was one of the most profound moments of my life because it was the realization of a dream that I never thought would happen to me.”

Spacek:”It was a very passionate kind of working experience. No one was making any money and everyone was there because we were desperate to work on the film…It was probably the first film that I felt creatively engaged in. Terry would ask me questions about the character. I felt like I wasn’t just an actor for hire…After working with Terry, I was like, ‘The artist rules. Nothing else matters.’ My career would have been very different if I hadn’t had that experience.”

(via)

Money and Morals 1934 (Dora Maar)

Money and Morals 1934 (Dora Maar)

Vivien Leigh & Olivia de Havilland in Gone With the Wind (1939)

Vivien Leigh & Olivia de Havilland in Gone With the Wind (1939)

Si no fuera por ti.

Si no fuera por ti

con esa fe en las cosas

que parecen  haberse malogrado

y  que luego resultan cosas hechas;

si no fuera por ti que me has amado.

Si no fuera por ti

que encuentras mil saludos

aunque nadie se asome a mi costado;

y conviertes la ausencia en multitudes;

si no fuera por ti

¿qué habría pasado?

Si no fuera por ti

¿qué sería de mí,

dudando de la gente en cada tramo;

con este maldecir que se vuelve inútil con los años;

ay, qué sería de mí

si no fuera por ti? 


Pedro Luis Ferrer