looking forward to nothing




Winona Ryder (via sharksinyourfuckinmouth) quoted,
"I think too much. I think ahead. I think behind. I think sideways. I think it all. If it exists, I’ve fucking thought of it."



bbook:

rollingstone:

Trent Reznor is a network of balanced contradictions – and all the richer for it. His music can be as abrasive as chain saws or as melodious as birds – often in the same four minutes. Until The Fragile, he worked almost exclusively with machines but expertly wrung earthy warmth from their chips and bits. As much as his music screams “Fuck you,” it whispers “Love me.” It can sound simple, but it is meticulously crafted and complexly programmed. Reznor uncorks chaos but has the intelligence to harness it. As industrial, distorted and thrashing as Nine Inch Nails are, there is an inherent groove to the music that can’t be learned – like Prince, like Sly Stone.
Happy 48th birthday Trent Reznor!

Woo!
lomographicsociety:

Topless Jimi Hendrix Enjoying his Hillside View of Two Topless Girls
So this is what the Jimi Hendrix Experience is about!
sammyslabbinck:

’ Seafood ‘
Collage on paper
© Sammy Slabbinck 2013
porfolio /  society6.com / facebook / flickr
cinephilearchive:

Lost Highway screenplay by David Lynch and Barry Gifford [pdf]. (NOTE: For educational purposes only)

“You can say that a lot of Lost Highway is internal. It’s Fred’s story. It’s not a dream: It’s realistic, though according to Fred’s logic. But I don’t want to say too much. The reason is: I love mysteries. To fall into a mystery and its danger… everything becomes so intense in those moments. When most mysteries are solved, I feel tremendously let down. So I want things to feel solved up to a point, but there’s got to be a certain percentage left over to keep the dream going. It’s like at the end of Chinatown: The guy says, ‘Forget it, Jake, it’s Chinatown.’ You understand it, but you don’t understand it, and it keeps that mystery alive. That’s the most beautiful thing. For me, a film exists somewhere before you do it. It’s sitting in some abstract world, complete, and you’re just listening to it talk to you, telling you the way it’s supposed to be. But not until all the sound and music and editing has been done do you truly know what it is. Then it’s finished. It feels right, the way it’s supposed to be, or as right as it can. And when it’s finished, you’re back in a world where you don’t control anything. You just do the best you can, then say farewell.” —Rolling Stone, March 6, 1997 Lost Highway Lynch Interview



The first time I lay actual eyes on the real David Lynch on the set of his movie, he’s peeing on a tree. This is on 8 January in L.A.’s Griffith Park, where some of Lost Highway’s exteriors and driving scenes are being shot. He is standing in the bristly underbrush off the dirt road between the base camp’s trailers and the set, peeing on a stunted pine. Mr. David Lynch, a prodigious coffee drinker, apparently pees hard and often, and neither he nor the production can afford the time it’d take to run down the base camp’s long line of trailers to the trailer where the bathrooms are every time he needs to pee. So my first (and generally representative) sight of Lynch is from the back, and (understandably) from a distance. Lost Highway’s cast and crew pretty much ignore Lynch’s urinating in public, (though I never did see anybody else relieving themselves on the set again, Lynch really was exponentially busier than everybody else.) and they ignore it in a relaxed rather than a tense or uncomfortable way, sort of the way you’d ignore a child’s alfresco peeing. —David Foster Wallace VISITS THE SET OF DAVID LYNCH’S NEW MOVIE AND FINDS THE DIRECTOR BOTH grandly admirable AND sort of nuts