It was 1993 when photographer Carole Bellaïche met Isabelle Huppert for the first time. She was on a Cahiers du Cinéma assignment and she travelled to Lausanne, where Huppert was rehearsing for the play Orlando, directed by Bob Wilson. … Read More → The post Read instead…in print #37: Isabelle Huppert par Carole Bellaïche first appeared on Classiq.| Classiq
Photo: Carole Lombard in “Mr. and Mrs. Smith”, 1941. RKO Carole Lombard had tomboyish qualities, flair for comedy and could hold up her glamour all at the same time like no other actress. As a twelve-year-old, she appeared in … Read More → The post Carole Lombard’s spectacular repartee in “Mr. and Mrs. Smith” first appeared on Classiq.| Classiq
If we ever needed reassurance about why we love cinema in general and Hitchcock in particular, then North by Northwest: The Man Who Had Too Much spells that out.| Classiq
Today I am revisiting To Catch A Thief and that impossibly well-dressed man, Cary Grant as John Robie "The Cat".| Classiq
Today it is hard to imagine anyone else than Audrey Hepburn in the role of Holly Golightly in Breakfast at Tiffany's. It is also hard to imagine fashion without| Classiq
Rod Taylor in “The Birds”, 1963 | Alfred J. Hitchcock Productions Who else believes Rod Taylor and his style in The Birds are underrated? Because this is what I think. He is just as underrated as Tippi Hedren and her place among Alfred Hitchcock’s heroines are. Rod Taylor is not the first leading man| Classiq
Cary Grant’s Suit: Nine Movies That Made Me the Wreck I Am Today has humour in it. Just like a good film (that is not a comedy) has humour in it (like Hitchcock’s). Just like life (amidst hardships, tragedy, rises and falls) has humour in it. Todd McEwen writes from a very personal point of view. Movies are truly woven into his life and it’s absolutely thrilling to read how he meanders through some of the movies that have marked him in one way or another.| Classiq
On Cary Grant, style, fashion and film, with Richard Torregrossa. Author of the book Cary Grant: A Celebration of Style and notable journalist| Classiq
Costume undergoes its own groundbreaking evolution in Avatar: The Way of Water while still operating within the mise en scène as an aid of character and narrative. In a unique filmmaking effort, Deborah L. Scott invented a new costume paradigm.| Classiq
Photos: Classiq Journal “The authors of genuine children’s literature, then, are only rarely and indirectly educators… Jules Verne is perhaps the only one. They are poets whose imagination is privileged to remain on the dream wavelength … Read More → The post August Newsletter: Make ‘em laugh, make ‘em cry, make ‘em wait, and Silkwood first appeared on Classiq.| Classiq
Has anyone captured Venice at first sight better in film, so vivid, so alive, so real, than David Lean in Summertime? Venice plays itself. You are not set in the middle of the story, or of the city. You journey into it, along with Katharine Hepburn’s character, Jane Hudson.| Classiq
“I play You play We play At cinema You think there are Rules for the game…” Letter to my friends to learn how to make films together, by Jean-Luc Godard| Classiq
An online journal that celebrates cinema, culture, style and storytelling.| Classiq - An online journal that celebrates cinema, culture, style and storyt...
“All at once a further wonder came to increase our well-being: a cool breath of wind. This is one of the seldom-failing blessings of midsummer in the Peloponnese.” Patrick Leigh Fermor, Mani: Travels in the Southern Peloponnese … Read More → The post July newsletter: Leigh Fermor’s Mani, Jules Dassin’s Athens, and Moondance first appeared on Classiq.| Classiq
Rick never sits with his customers. He never sticks his neck out for everyone. He is intently neutral. Seeing Bogart laconic in conventional breaking white dinner jacket| Classiq
Collage, from top left: 1 – image from “Lords of Dogtown”, 2005. Columbia Pictures| 2,3,4 – Classiq Journal Some are hilarious, some are emotional, some instantly make you relive the thrill of watching an entire film, some can serve … Read More → The post Our summer manifesto, inspired by the movies first appeared on Classiq.| Classiq
In The Man Who Knew Too Much (1958j, it is Doris Day who is a pivotal element and who is the furthest away from the typical Hitchcockian blonde.| Classiq
May newsletter: A Training School for Elephants and safaris in Bergmanland| Classiq
Movies come to us, so why go to the movies? Never has this idea loomed larger than in the last few months. And, yet, when this is all over, people will want to gather again in cinemas. Film makers and film festival directors share their opinion.| Classiq
A brand like a poem. A life’s choice. Les vacances d’Irina is unequivocally Irina Moroșanu. That’s why when I speak of Les vacances d’Irina, it’s a story bigger than clothes that seamlessly resurfaces, it’s clothes that breathe, speak and inspire stories.| Classiq
Bill Phelps’ photography is like that. It has no hurried departure, nor a preconceived destination. It’s more like a wondrous path in which spontaneity, intimacy and a truthful eye are at play time and again. It’s about letting something emerge, full of the unexpected, but always looking for what’s genuine and real, and relating to people, to the human part of people.| Classiq
From François Truffaut on the set of Mississippi Mermaid, to John Cassavetes on the set of Gloria, How Directors Dress uses clothing to tell new stories about directors, their movies and| Classiq
Artist Léa Morichon and I talk about finding inspiration in dialogue and shared vulnerability, her childhood fascination with her mother’s vintage fashion posters, and| Classiq
To Catch a Thief: Beyond character interchangeability, the physical and costume similarities between John Robie and Danielle reveal something more: Danielle’s fascination and infatuation with Robie.| Classiq
Production designer Ryan Warren Smith and I talk about the making of Lean On Pete, from Ryan’s first meeting with director Andrew Haighhow he mapped out Charley’s emotional journey through color coding, to a defining location one| Classiq
Film still photographer JoJo Whilden joins me today to discuss the particularities of set photography, her beginnings in photography and film in the 90s NYC and| Classiq
Romy Schneider in “César et Rosalie”, 1972 | Fildebroc, Mega Film, Paramount-Orion Filmproduktion There is this feeling you often get from Claude Sautet’s films, indicating that his protagonists are always among us. Sautet seeks out the remains of humanity in his characters, regardless of their past and crimes. It is an intimate and well-crafted| Classiq
Joseph Kessel’s novel Belle de jour, on which the film is based, “is very melodramatic, but very well constructed, and it offered me the chance to translate Séverine’s fantasies into pictorial images as well as to draw a serious portrait of a young female bourgeois masochist,” Luis Buñuel wrote in his autobiography, My Last| Classiq
The creations of Heather Chontos are like worlds in themselves, made from fragments and chaos which she attunes and brings to life through light and colour. She creates from life and every piece of work is a lived presence, her emotions, rather than motifs or themes, unified into new and evolving environments. Her art| Classiq
Latest interview on Classiq Journal: graphic and film poster designer Vasilis Marmatakis. I’ve chatted with Vasilis about Poor Things, his working relationship with Yorgos Lanthimos, the difficulty to attach a definition to the term artistic poster and the one movie poster he has framed in his home.| Classiq
In our interview, The Holdovers production designer, Ryan Warren Smith, takes us behind the scene to see how the movie was made and walks us through the instinctive choreography of collaboration. We also talk about the transportive recreation of the 70s and settling the characters, and us the viewers, in that world, about the movie theater that he grew up with, and The Holdovers scene that we both absolutely love.| Classiq