Category: Cinema
The Who | The Kids Are Alright

One of the reasons sort of music and things fantastically loud is ’cause you get so many people who sort of turn deaf ears to what you do. You know what I mean? They sort of just won’t listen to what you do. And it doesn’t matter how good or bad it is. In fact, the bigger it is, normally, the more they’ll close their ears to it. So the louder you gotta — you gotta work, you know.

Volume is a fantastic thing. Power and volume. Power and volume.

– Pete Townshend

Pete Townshend, The Who; from the film "The Kids are Alright" 1979, photographer unknown

Pete Townshend, The Who; from the film "The Kids are Alright" 1979, photographer unknown


Leica Sighting | Stalag 17

The scene in Billy Wilder’s Stalag 17 when the fellow prisoners of Barracks Four open up Sefton’s foot locker. Among the goodies are a couple of Leica III’s (with collapsible Elmars) mounted on the inside of the box’s lid.

Identification of the bodies and lenses comes from the invaluable geek resource, Andrew Nemeth’s Leica FAQ

Sefton's foot locker with Leica IIIs from Billy Wilder's Stalag 17, 1953

Sefton's foot locker with Leica IIIs from Billy Wilder's Stalag 17, 1953

People copy, people steal. Most of the pictures they make nowadays are loaded down with special effects. I couldn’t do that. I quit smoking because I couldn’t reload my Zippo.

-Billy Wilder


Margaret Herrick | Claudia Cardinale & Fellini, 8½

Having always loved the circus, I saw the resemblance between movies and the circus. As a boy, my greatest dream would have been to be the director of a circus. I love the fantasy and the sense of improvisation in both.

-Federico Fellini

Claudia Cardinale and Federico Fellini during the production of FEDERICO FELLINI'S 8 1/2, 1963.

Claudia Cardinale and Federico Fellini during the production of FEDERICO FELLINI'S 8 1/2, 1963.

When I arrived for my first movie, I couldn’t speak a word [of Italian]. I thought I was on the moon. I couldn’t understand what they were talking about. And I was speaking in French; in fact I was dubbed. And Federico Fellini was the first one who used my voice. I think I had a very strange voice.

-Claudia Cardinale


Leica Sighting | Chinatown

Jack Nicholson using a Leica III/A and VIDOM finder in Chinatown.

Jack Nicholson using a Leica III/A and VIDOM finder in Roman Polanski's Chinatown 1974

Jack Nicholson using a Leica III/A and VIDOM finder in Roman Polanski's Chinatown 1974

Each time I see any of my movies, there are plenty of things that I would like to change. It doesn’t mean that the movie would be any better. For example, when Gittes is photographing on the roof, the couple downstairs, and I wanted to see the reflection of it in the lens of his Leica. I was hesitating a lot and discussing it, which way to put it, put it upside down or the way it is, in the lens normally it should reflect upside down. And I thought for the audience’s sake, we won’t put it upside down. Today, I would definitely put it upside down.

-Roman Polanski

Jack Nicholson using a Leica III/A and VIDOM finder in Roman Polanski's Chinatown 1974

Jack Nicholson using a Leica III/A and VIDOM finder in Roman Polanski's Chinatown 1974


Leica Sighting | S1m0ne
Pruitt Taylor Vince  and Jason Schwartzman with a Leica M6 and what appears to be a 28mm Elmarit, S1m0ne, 2002

Pruitt Taylor Vince and Jason Schwartzman with a Leica M6 and what appears to be a 28mm Elmarit, S1m0ne, 2002

Pruitt Taylor Vince  and Jason Schwartzman with a Leica M6 and what appears to be a 28mm Elmarit, S1m0ne, 2002

Pruitt Taylor Vince and Jason Schwartzman with a Leica M6 and what appears to be a 28mm Elmarit, S1m0ne, 2002