In French, you don’t really say, “I miss you.”
You say, “Tu me manques,” which is closer to, “You are missing from me.”
I love that. “You are missing from me.” You are a part of me, you are essential to my being. You are like a limb or an organ, or blood. I cannot function, without you.
Norma Jeane Baker aka Marilyn Monroe| June 1, 1926 – August 5, 1962
I’ve never fooled anyone. I’ve let people fool themselves. They didn’t bother to find out who and what I was. Instead they would invent a character for me. I wouldn’t argue with them. They were obviously loving somebody I wasn’t.
Happy Birthday Marilyn!
Interviewer: Give Me the argument, the best argument you know, for the power of cinema.
Quentin Tarantino: Oh gosh, you know one of the things about cinema that I just find very moving, it’s why it’s my favorite art form, is when you go to a movie and you see a certain sequence, and if there is real cinematic power and there’s cinematic flare. There are certain filmakers that you feel were touched by God to make movies and it would be a combination of editing and sound, usually it’s like visual images connected with music or something, but when those things work and they really connect..it’s just like you forget to breathe. You are really transported to a different place. Music doesn’t quite do that on it’s own, novels don’t quite do it, & a painting doesn’t quite do it. They do it there way but with cinema, especially if you’re in a theatre and you’re sharing the experience with a bunch of other people so it’s this mass thing going on..it’s just truly, truly thrilling.(x)
Totally agree.
(Source: femburton)
![cinemamonamour:
The difference between surprise and suspense explained by Alfred Hitchcock:
“Here we are, back in our old situation: surprise or suspense. And we come to our old analogy of the bomb: you and I sit talking and there’s a bomb in the room. We’re having a very innocuous conversation about nothing. Boring. Doesn’t mean a thing. Suddenly, boom! the bomb goes off and they’re shocked–for fifteen seconds. Now you change it. Play the same scene, insert the bomb, show that the bomb is placed there, establish that it’s going to go off at one o’clock–it’s now a quarter of one, ten of one–show a clock on the wall, back to the same scene. Now our conversation becomes very vital, by its sheer nonsense. “Look under the table! You fool!” Now they’re working for ten minutes, instead of being surprised for fifteen seconds”.[x]](http://25.media.tumblr.com/tumblr_m4znyxWxex1qefgdko1_500.jpg)
The difference between surprise and suspense explained by Alfred Hitchcock:
“Here we are, back in our old situation: surprise or suspense. And we come to our old analogy of the bomb: you and I sit talking and there’s a bomb in the room. We’re having a very innocuous conversation about nothing. Boring. Doesn’t mean a thing. Suddenly, boom! the bomb goes off and they’re shocked–for fifteen seconds. Now you change it. Play the same scene, insert the bomb, show that the bomb is placed there, establish that it’s going to go off at one o’clock–it’s now a quarter of one, ten of one–show a clock on the wall, back to the same scene. Now our conversation becomes very vital, by its sheer nonsense. “Look under the table! You fool!” Now they’re working for ten minutes, instead of being surprised for fifteen seconds”.[x]
I love Toothless so much, you don’t even know…
cosigned :)
(Source: shercockled)
