I had been warned that Deneuve is like a barometer on a set; when she is not pleased with the film she is stormy. She tends to be hypercritical, to sit in judgment, but here she was radiant, unapproachably beautiful and yet joking with the technicians. She was the girl who walks into a room to have every man present fall in love with her on the spot. One of the script-girls, a drab, average woman, had a scarf tied to her waist, and Deneuve asked, “Is that so you won’t forget something?” and the scripts-girl said, “It’s so I won’t forget I exist.” The barometer was set at sunny and fair. I later saw a rumor published in Paris Match that the good feelings between her and Truffaut were more than professional. Belmondo stopped sparring with a technician long enough to say that “Truffaut’s great with actors. He’s like a good fight manager; he only talks to you when it’s important.”
The Triplets of Belleville - (Sylvain Chomet, 2003)
Bruno is a very thoughtfully illustrated dog.
Mauvais Sang - (Leos Carax, 1986)
Purple Life Mixtape
Dave Wrangler & @DJAlykhan - 90 minute mix of hits, b-sides, 12” edits and cassette single rarities.
A track from Cliff Martinez’s score for The Knick.
I love that Soderbergh uses Martinez’s work on a period show (along with his ambient work for futuristic Solaris).
Subway (Luc Besson, 1985)