O, Merciful Heaves!

What the inside of my head looks like.

Art by Simon Bisley

Art by Simon Bisley

Reblogged from randomdeinonychus

gameraboy:

Filming the Nostromo model for Ridley Scott’s Alien (1979)

iseo58:

Hindu Temple, Kerela, India

Reblogged from wageofsins

iseo58:

Hindu Temple, Kerela, India

Southern Comfort (1981)

Southern Comfort (1981)

BPRD: The Pickens County Horror & Others
Art by Mike Mignola

BPRD: The Pickens County Horror & Others

Art by Mike Mignola

Hellboy In Mexico
Art by Richard Corben

Hellboy In Mexico

Art by Richard Corben

Tales From The Crypt Present: Demon Knight (1995)

Tales From The Crypt Present: Demon Knight (1995)

Art by Frank Frazetta

Art by Frank Frazetta

Dancer From AtlantisArt by Frank Frazetta

Dancer From Atlantis

Art by Frank Frazetta

Reblogged from franzferdinand2

gutsanduppercuts:

Sad, sad news. Panna Rittikrai, director of “Ong Bak” and “Ong Bak 2” as well as Tony Jaa’s mentor and the fight choreographer for aforementioned films and "The Protector," died yesterday at the age of 53.

Rittikrai didn’t just help reinvent Thai cinema; he reinvented action cinema in general. His choreography, as we as his stunt team single-handedly changed martial arts action in a time when the genre was on a pretty grm decline.
As well as directing and acting, he starred in a number of films too. Most notably, he was the chief bad guy in 2010’s “Bangkok Knockout.”

It’s so sad that a true icon has died at such a young age. I can’t help but feel like he had so much more to give. He was just so innovative and a landmark action director as for as stunts go.
Rittikrai died due to complications involving liver and kidney failure. Doctors also discovered that he had a brain tumor.

Rest in peace to a true modern legend and incredible talent.

Reblogged from filthymetalspike

A crab eating noodles. You’re welcome.

(Source: onlylolgifs)

Red Sonja
Art by Jim Lee

Red Sonja

Art by Jim Lee

Art by Adrian Smith

Art by Adrian Smith

Art by Adrian Smith

Art by Adrian Smith

a-bittersweet-life:

No matter how much work the director, the assistant director, the cameraman or the lightning technicians put into a film, the audience never knows. What is necessary is to show them something that is complete and has no excess. When you are shooting, of course, you film only what you believe is necessary. But very often you realize only after having shot it that you didn’t need it after all. You don’t need what you don’t need. Yet human nature wants to place value on things in direct proportion to the amount of labor that went into making them. In film editing, this natural inclination is the most dangerous of all attitudes. The art of the cinema has been called an art of time, but time used to no purpose cannot be called anything but wasted time.
Akira Kurosawa

Reblogged from hubcityhorror

a-bittersweet-life:

No matter how much work the director, the assistant director, the cameraman or the lightning technicians put into a film, the audience never knows. What is necessary is to show them something that is complete and has no excess. When you are shooting, of course, you film only what you believe is necessary. But very often you realize only after having shot it that you didn’t need it after all. You don’t need what you don’t need. Yet human nature wants to place value on things in direct proportion to the amount of labor that went into making them. In film editing, this natural inclination is the most dangerous of all attitudes. The art of the cinema has been called an art of time, but time used to no purpose cannot be called anything but wasted time.

Akira Kurosawa

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