Sunglasses Collection

Blondie Kirsten

Kirsten Dunst and Johnny Borrell, singer of "Razorlight", at the SXSW music festival in Austin, TX. (03/16/07).
"There were rumours a while back that Kirsten Dunst had been cast to play musician Debbie Harry in a biopic about her life. Now said rumour just got a little juicier, as Dunst recently revealed in an interview that her next project would be a movie with director Michel Gondry ("Eternal Sunshine of the Spotless Mind", Dave Chappelle’s "Block Party") about a certain “well-known singer”.
I don’t know much about the life of Debbie Harry, other than the fact that she was, of course, the frontwoman for the band Blondie and that she was reportedly bisexual. But I think everyone can agree that Kirsten Dunst would be absolutely perfect for this role, and with Gondry being the huge music fan he is, I can see this flick being right up his alley. I’m already picturing Marie-Antoinette, minus the period setting, and with a bunch of weird stop-motion dream sequences."
Source: www.Filmjunk.com

"Ramona"

Pictures by Popsugar.com and JustJared.com

"Ramona, I hear the mission bells above
Ramona, they're ringing loud our song of love
I press you, caress you and bless the day
you taught me to care
To always remember the rambling rose
you wear in your hair

Ramona, when day is done you'll hear my call
Ramona, we'll meet beside the waterfall
I dread the dawn when I awake to find you gone
Ramona, I need you my own

Ramona, I hear the mission bells above
Ramona, they're ringing loud our song of love
I press you caress you and bless the day
you taught me to care
To always remember the rambling rose
you wear in your hair

Ramona, when day is done you'll hear my call
Ramona, we'll meet beside the waterfall
I dread the dawn when I awake to find you gone
Ramona, I need you my own"
"RAMONA" by THE BLUE DIAMONDS (M. Wayne; L. Wolfe-Gilbert)

Noir Tales

Holden: [in a letter to Justine] "Dear Justine, because of you I will be quitting the Retail Rodeo. The last two days have been the most God awful of my life. I've not been able to get rid of you in my head. I've never wanted anything so bad and I have wanted many things. I'd given up long ago on being gotten by someone else, and then you came along. The idea that I could be gotten because of circumstance or never get got is the worst feeling I've ever felt and I have felt many bad feelings. I'm sorry I can never see you again, Justine. Forgive me for being so weak, but that is who I am. Goodbye. Holden Worther. If, for some reason, you could change your mind and wanna be with me body and soul, meet me after work. I will be waiting for you at 5pm outside Chuck E. Cheese. If you are not there at 5 you will never see me again in your lifetime".
"Directed by Miguel Arteta from Mike White's script, "The Good Girl" is at once romantic and snide.
If "The Good Girl" were a film noir (which, in a way, it is), Holden would be the unstable femme fatale and Justine the middle-class patsy looking to crash out of a humdrum existence. This good girl is trapped in a world of crazies and idiots.
Almost behind its own back, the story of Justine's reckless affair becomes an all-American tale of crime, violence, blackmail, obsession, and betrayal. Events take a swerve toward the serious—but not entirely. Arteta and White have created an impacted road film, or maybe an ironic outlaw ballad. The fake sincerity of the unhappy "happy ending" is clinched by Gillian Welch's twangy closing-credit rendition of the venerable bad-man ballad "Railroad Bill." It's exit music for a movie where there is none." -by J. Hoberman. Source: www.Villagevoice.com
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"Visions of Marsha's faithlessness haunted him. Daytime fantasies of sexual abandon permeated his thoughts. And the thing was, they wouldn't understand how she really was. He, Waldo, alone understood this. He had intuitively grasped every nook and cranny of her psyche. He had made her smile. She needed him, and he wasn't there (aaahh..) You could go anywhere in the mails.
Mr. Jameson of the Clarence Darrow Post Office rang the doorbell of the large stucco colored frame house. When Marsha Bronson opened the door, he helped her carry the package in. He had his yellow and his green slips of paper signed and left with a fifteen cent tip that Marsha had gotten out of her mother's small beige pocketbook in the den. "What do you think it is?" Sheila asked. Marsha stood with her arms folded behind her back. Then smiling, "I got an idea." "What?" said Marsha. "Just watch," said Sheila, touching her finger to her head. Inside the package, Waldo was so transfixed with excitement that he could barely breathe. His skin felt prickly from the heat, and he could feel his heart beating in his throat. It would be soon. Sheila stood quite upright and walked around to the other side of the package. Then she sank down to her knees, grasped the cutter by both handles, took a deep breath, and plunged the long blade through the middle of the package, through the masking tape, through the cardboard, through the cushioning and (thud) right through the center of Waldo Jeffers head, which split slightly and caused little rhythmic arcs of red to pulsate gently in the morning sun."
-"The Gift" (1967) a short story written by Lou Reed, it belongs to "White Light/White Heat" album by The Velvet Underground.
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"Most reviews of Rian Johnson's "Brick" came down to variations on these themes, and not for bad reason.
Yes, "Brick" is a film noir—complete with slangy, speedy dialogue, murder, femmes fatale, and plot twists—transplanted to the world of high school. And yes, that's awesome. But it's not the end of the story. Some reviews caught on to the significance of the high school setting, where each emotion is outsized and every bit of drama feels like a life-or-death situation.
But even these reviews tended to miss the bruised, beating heart beneath the film-school cleverness of the set-up. In Johnson's story and wide, empty compositions—as well as in Joseph Gordon-Levitt's astonishing performance—lies a deep sadness specifically attuned to the worlds of both high school and film noir.
Gordon-Levitt's Brendan is two types: the cold, distant hero of noir and the ultra-smart loner of high school (he "eats alone" in more ways than one). Throughout the course of the film, Brendan's solitude helps him solve the case, but he loses everything in the process.
In this sense, "Brick" functions as a sly and intensely moving deconstruction of noir tropes. This is no celebration of Humphrey Bogart's "cool" stoicism; it's an elegy for lost souls." —Matt Noller, Athens, GA.
Source: www.Avclub.com
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"Ralph stood on the corner, leaning against the brick wall of Silver's candy store, telling himself to go home and get some sleep..."
"You don't know what you'll be doing tonight. Or tomorrow. Or the day after tomorrow. What are you? What do you do? You stand on the corner. You're one of the bums. You're thirty years old and what do you have? "Nothing." "Is that what you want?" "It gives me very little to worry about. I don't have to think about losing it. There's nothing to lose."
-from "The Blonde on the Street Corner" (1954) by David Goodis. Books by David Goodis.

Anne Becoming Jane

"Anne Hathaway has said she might have to quit acting if her performance in new film "Becoming Jane" is attacked by critics. Anne had to use an English accent to play write Jane Austen in the film and told Grazia that she worked hard to perfect it: “If [I knew if] I messed this up, I’d never forgive myself. I might have to stop acting. The key thing was the accent because everybody will be listening for it.”

“I had really bad dreams about being chased around and stabbed to death with a quill by Austen.” "I was having panic attacks and would wake in the middle of the night sweating and breathing very heavily because it would have really broke my heart to have messed this one up."
”Anne considered staying in her new accent for the whole time during filming to avoid having to relearn it every morning but her boyfriend Raffaello Follieri wouldn’t let her: “He begged me to stop. I really immersed myself in it, but when I talked to Raffaello, he said, ‘Please! It’s bad enough you’re abroad and I can’t see you, now I can’t even hear you!’ So I spoke as myself with him.” Source: http://Fametastic.co.uk

Loving Cola

Jake holding a Coca-Cola bottle.

Kirsten Dunst in the ShoWest Award Ceremony
(16 March 2007)


Kirsten signing at the "Coca-Cola Green Room".
Kirsten enjoying her Cola glass and Coca-Cola can.

Reese Witherspoon.
"Coca-Cola bottles portrait" by Andy Warhol.
Rachel Bilson wearing an Edie Sedgwick-printed shirt.
Sienna Miller as Edie Sedgwick in "Factory Girl" (2006)
The real Edie Sedgwick (1943-1971).
"We are in 1966. The elevator wails reaching the fourth plant. In the middle of the silverplated refuge [The Factory], Edie Sedgwick is sitting on a huge quilted red sofa, her visage is warm but severe, her eyes alive. She smokes a cigarette, sips one pepsi." -"Stargazer: Andy Warhol's World and His Films" (1974) by Stephen Koch.

Ruffalo and The Fountain

"There are a number of things that make David Fincher’s "Zodiac" a masterpiece. I can’t go into them all here, but one of the main weapons Fincher has is his cast, and one of the best performances in that cast comes from Mark Ruffalo.

He’s always been a great actor, but he’s been flying just under the mainstream radar for years, and if there’s any justice, "Zodiac" is going to do a lot to change that. And maybe "The Brothers Bloom" will help as well. Ruffalo has just signed on to

join Rian Johnson’s incredibly awaited follow-up to "Brick", playing the older of the titular con man brothers. Adrien Brody plays the younger brother, while "Babel"’s Rinko Kikuchi plays a woman who helps the duo in their scams.

Also on board is the beautiful Rachel Weisz." -By Devin Faraci.

Download "The Fountain" Soundtrack
"Perhaps what makes THE FOUNTAIN Mansell’s best score, and Aronofsky’s best film (until its indecipherable ending), is that this is a love story through all of its grand sci-fi illusions.
Mansell, once again joined by the poignant strings of The Kronos Quartet (as well as the alt. artist Mogwai), instantly convey the undying bond between Hugh Jackman and Rachel Weisz’s time-crossed couple.

It’s an approach that firmly connects his scoring for THE FOUNTAIN in a straight, conceptual line with PI and REQUIEM
as music looks into the face of God (real or chemically-induced) to learn some fantastic truth." -By Daniel Schweiger.
Sources: www.Chud.com and www.Ifmagazine.com/