To Live and Die in L.A., 1985

David Bowie in Kyoto, Japan, 1980

“Acordar bem-disposto, olhar a paisagem marítima brilhando ao sol, respirar fundo todo um sentimento de beleza e, com o espírito alto e a mente aberta, mergulhar no jornal prum banho de violência, burrice e vulgaridade.” —Millôr Fernandes

Toshiro Mifune & Peter O'Toole photographed having a drink in Japan, 1965. (📸- Kaku Kurita)

Robert Mitchum in The Night of the Hunter (1955) turns Harry Powell into something out of a nightmare, that preacher act, the “LOVE” and “HATE” hands, and the way he carries himself like he’s already decided your fate.

“He who kisses joy as it flies by will live in eternity's sunrise.” ― William Blake

Orson Welles’ entrance in The Third Man is cinema timing at its sharpest. An entire movie builds Harry Lime as an absence, then a single light flick, a smile, and the film instantly belongs to him.

Watched Raging Bull for the first time yesterday and now I can’t get this scene out of my head. What a stunning achievement in cinematography and editing.

Coppola pierde 100 millones de dólares con Megalópolis, un fracaso de crítica y público. Y qué hace con 87 tacos? OTRA. Por algo su generación cambió Hollywood.

Millôr era um gênio. Qual frase dele é a melhor, na sua opinião?

Um dos maiores registros fotográficos da fotografia brasileira.

I say this line by Cormac McCarthy in my head at least twice a week

David Bowie and William S. Burroughs, 1974 Photos by Terry O’Neill

Oscar Niemayer e a ditadura militar.

The Great Pyramid at Meidum, 1956

Fishermen at night near the Taj Mahal, India, 1985 Photo by Raghu Rai

In MUNICH (2005), Spielberg uses a car mirror moment to show his mastery of visuals: he uses the car as a dolly, a zooming lens, and Eric Bana’s blocking to stitch multiple “shots” into one seamless move.