lettertojane: Diane Keaton

theclotheshorse: Pavlína Jágrová

lettertojane: Caleb Deschanel and Cassavetes johncassavetes: Cassavetes actually preferred using amateurs with little prior experience on his crews. Over the years he had discovered that it was extremely difficult for professionally trained cameramen to adapt to his methods. AFI students made up the majority of the crew when A Woman Under the Influence began shooting. The price was right, since Cassavetes could get them for nothing. As they were students, presumably they would be eager to work and open to new ways of thinking. But, ironically, even most of them turned out to be ‘too professional’ for his methods. Caleb was one of the star students at the AFI, and Cassavetes appointed him DP and allowed him to hand-pick his own crew from among his classmates. It was his first feature filmmaking experience, but he simply could not work the way Cassavetes wanted him to. (To be candid there were also a number of serious personality conflicts between Deschanel and Cassavetes and non-AFI members of the crew.) Cassavetes fired him a few weeks into the shoot (only a few of his set-ups and shots are still visible in the early house scenes of the final edit - the scenes in the bar and the house with Garson Cross, the scenes on the construction site after Nick commits Mabel and when Eddie falls, the scenes involving Nick’s nighttime work and his call to Mabel, and the scenes where Mabel is alone in the house after her mother leaves with the children). The Deschanel touch is visible in a number of them, which have a degree of gorgeousness that Cassavetes seldom allows himself. It would not be surprising if the visual beauty of some of Deschanel’s shots was another reason Cassavetes fired him.  Writing to me recently, Deschanel indicated that he still does not agree with Cassavetes’ view of cinematography: ‘I think John would just as soon pull the film through his brain and expose it that way as worry about what it took to record something on film through a camera… He never really accepted film as a craft that is mastered in order to make it work as art.’ Even Al Ruban who worked on several of the films, said he and Cassavetes had knock-down drag-out arguments on other films almost daily, since Cassavetes virtually made no concessions to the cameraman and his crew, and consequently made photographic demands that were almost impossible to meet. (excerpt from Carney’s Cassavetes on Cassavetes) *Caleb Deschanel would go on to become a successful Academy-award nominated cinematographer. He is the cinematographer for such films as  Being There (1979), The Black Stallion (1979), The Right Stuff (1983), The Natural (1984), Fly Away Home (1996), The Patriot (2000), Timeline (2003), and The Passion of the Christ (2004). He is married to actress Mary Jo Weir and is the father of actresses Emily and Zooey Deschanel (pictured above). Edit: Another fun fact! Caleb Deschanel would also end up being the director of photography for My Sister’s Keeper, which if you don’t know, is directed by Nick Cassavetes. 

theclotheshorse: msgm pre-fall 2012

lettertojane: Shelley Duval paperspots: Shelley and kittens

prepitude: ultimate preppiness ~  vermontprep: Field hockey girls. 

victoria by victoria beckham cat print dress.

calivintage: tamu of all the pretty birds.

Style for me (=^. .^=)