fuckyeahchristinahendricks:

Inside ‘Mad Men’: On Set and Behind the Scenes of the Emmy- Winning Show
(via RS.com)

I can’t not reblog this. I just can’t. I’m a weak man. Sorry.

Little Edie Bouvier Beale of Grey Gardens, 1937

It’s very difficult to keep the line between the past and the present. You know what I mean? It’s awfully difficult.
-Edith ‘Little Edie’ Bouvier Beale

If you haven’t seen the 1972 documentary Grey Gardens, I recommend it:

The film depicts the everyday lives of the two Edith Beales, a reclusive socialite mother and daughter of the same name who lived at Grey Gardens, a decrepit mansion at 3 West End Road in the wealthy Georgica Pond neighborhood of East Hampton, New York….The two women lived together at Grey Gardens for decades with limited funds, resulting in squalor and almost total isolation…

There’s a 1972 New York Magazine piece about the movie online: “Paradise Lost: A Gothic Tale of Wealth and Rebellion in East Hampton”

Marilyn Monroe on the set of The Misfits (1961, dir. John Huston) via oldhollywood:

“She’s American and it’s very clear that she is. She’s very good that way - one has to be very local to be universal.”
-Henri Cartier-Bresson on Marilyn Monroe, quoted in James Goode’s The Making of the Misfits

I saw The Misfits about a month ago and it really kind of knocked me out, and not in a completely satisfying way. What a strange movie. I mean, the actors alone make it a can’t miss: you’ve got Eli Wallach, Montgomery Clift, Clark Gable, and Marilyn Monroe. (It was the final film for Monroe and Gable.) But it’s dark. The ending haunted me for a couple days.

Here’s a good essay on PBS about the making of the film.

“Maureen” via myparentswereawesome

Now *that* is an infographic! As Tufte says, “Whenever possible, show comparisons adjacent in space, not stacked in time.”

Stacked, indeed!

Jane Fonda, 1967 by Dennis Hopper (see her from the other side)

From a great post on Hopper as a photographer: Dennis Hopper, 1936 – 2010 « Chasing Light

I had been taking photographs because I hoped to be able to direct movies. That’s why I never cropped any of the photographs; they are all full-frame….I think of them as ‘found’ paintings because I don’t crop them, I don’t manipulate them or anything. So they’re like ‘found’ objects to me.

via mlarson :: funkaoshi

Jumpology: A 1954 photo of the photographer Philippe Halsman with Marilyn Monroe.

From the NYTimes: The Joys of Jumpology

When the photographer Philippe Halsman said, “Jump,” no one asked how high. People simply pushed off or leapt up to the extent that physical ability and personal decorum allowed. In that airborne instant Mr. Halsman clicked the shutter. He called his method jumpology.

The idea of having people jump for the camera can seem like a gimmick, but it is telling that jumpology shares a few syllables with psychology. As Halsman, who died in 1979, said, “When you ask a person to jump, his attention is mostly directed toward the act of jumping, and the mask falls, so that the real person appears.”

On the photo above:

One of the purest examples of this joy is an image of Halsman himself, holding hands with a smiling Marilyn Monroe several feet off the ground. Facing his partner, he seems ecstatic, as if he cannot believe his luck. He will hang with one of the world’s most photogenic beauties for eternity. The two are caught in nearly matching, tucked-knees positions.

via bobulate :: Ingrid Fetell

Robert Mitchum Keeps Hands Off Simone Silva’s Surprise

“Miss Festival” Simone Silva poses topless with Robert Mitchum during the Cannes Film Festival in April 1954. This pose caused a rush in which one photographer broke his arm and another his leg as the paparazzi scrambled for pictures. Actress Silva was subsequently asked to leave Cannes.

Filed under: Girls. Via Roger Ebert

SYDNEY, Australia—An office worker on Pitt Street Mall reads a book during lunch hour, 1999.

From Slate.com: Remember Reading on Paper?