25 octobre 2007

wallpaper Gene Kornman (1) - Pinup

Wallpaper Marilyn Monroe pinup pose
source inconnue: si vous en êtes le/la créateur/créatrice,
Merci de laisser un commentaire pour que je puisse accréditer ce wallpaper.


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24 octobre 2007

Beyoncé chante Diamonds are the Girls' Best Friends

Beyonce et le parfum Armani dévoilent "Diamonds"
cet automne 2007



Beyonce, la diva du RnB, est l'égérie publicitaire de Giorgio Armani à l’occasion de la sortie de Diamonds, le nouveau parfum du styliste incontournable de Milan. Habituée aux rubriques people des tabloïds du monde entier, Beyonce n’en reste pas moins une star adulée qui répond selon Armani au glamour de cette fragrance (plus d’informations sur la page YouTube dediée ).
Dans ce spot, vous découvrirez la chanteuse, vêtue d’une mini-robe Giorgio Armani, rebrodée de cristaux Swarovski scintillants. Elle y interprète la célèbre chanson de Marilyn Monroe « Diamonds are a girl’s best friend ». Au delà des goûts musicaux, Giorgio Armani brise les barrières du monde du luxe en choisissant une personnalité qui représente déjà L’Oréal, American Express, Mc Donald’s ou encore Pepsi. Comme l’indique le créateur de mode, "La véritable élégance n’est pas celle que l’on remarque, mais celle dont on se souvient". Le spot publicitaire est en ce moment même diffusé à la télévision française: ne zappez pas pendant les pubs !



beyonce_armani_pub_01_2 beyonce_armani_pub_02_1

Vidéo - Le Spot Publicitaire:

Vidéo - Le Making-Of:

>> source article sur CultureBuzz 


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1952 Marilyn au Beverly Hills Hotel

Marilyn Monroe prend une pose de starlette pinup
devant la piscine du
Beverly Hills Hotel vers 1952

1950S_S_1208_3 1952_beverly_hills_hotel_010_010_a ph_barbier_1

Il semblerait que le photographe soit Larry Barbier...

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22 octobre 2007

Model - Pinup Pose - Rare

photo rare de Marilyn Monroe avec son maillot 1 pièce noir & blanc

1946_marilyn_model_rare_010_1 1946_marilyn_model_rare_010_1_a

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Marilyn & George Axelrod

Arrêt d'Autobus

 Marilyn Monroe et George Axelrod, responsable du script du film Bus Stop, ici en plein tournage.


Entretien avec George Axelrod (co-script sur The Seven Year Itch et script sur Bus Stop)
extraits du livre Backstory 3 - Interviews with screenwriters of the 1960s - Pat  McGilligan - University of California Press - 1997

[p.63] (...) Okay, self-serving. In the case of Bus Stop, I believe the movie of Bus Stop is a better movie than the play of Bus Stop is a play. Because Bus Stop is not a particularly good play of Bill Inge's, but it had two unforgettable characters—the chanteuse and the cowboy.
The play just plays in one set, at the bus stop, and I had to open it up. I had a brilliant scene in the screenplay for Bus Stop, which the Breen Office just murdered. In the play, the cowboy is bragging about how literate he is—that he can recite the Gettysburg Address. In the movie, I had him break into the girl's room in the morning, while she is asleep, just to prove how literate he is. As he's screwing her, he is reciting the Gettysburg Address. It went on and on: "We are met on a great
battlefield  . . . " The longer it went on, the funnier it was, but he has to be screwing her while he's doing it. Hilarious scene. But, of course, the Breen Office didn't allow them to screw. So it was a botch.

Whatever deluded you into writing it?
Perversity. I hoped Josh [Logan] would figure some way to make it work—film it on their faces, or something.

Were you hoping for a breakthrough in the Production Code?
The breakthroughs weren't anywhere near. Years later, with Lord Love a Duck, they still hadn't broken through. The last
scene, where Roddy [McDowall] goes off triumphantly, screaming? I had him mouth "Fuck you!" and they cut it out.

Did these things drive you crazy?
Oh, mad. Not only did I have to cope with the Breen Office, but I had the Legion of Decency. Frank McCarthy, who was in charge of getting stuff through the Legion of Decency at 20th, used to say, "George, for Chrisake, why do you fight the system? Monsignor Biddle"—who was the movie guy for the Legion of Decency—"will be more than happy to sit down and
write the scene with you  . . . " (Laughs. Long pause.)

Irony! The fact is that I would not sit down with Monsignor Biddle to write sex comedy scenes.

Then, unfortunately, after you wrote them, he went ahead and rewrote them.
Yeah, he just blue-penciled them out.

You told me that Itch was inspired by a real person. How often do you do that—take dialogue from real people?
I do listen to people. Almost all my original stuff is based on a real person; most, loosely. Almost everything starts with a
person. Something about that person which gets me thinking—and, mostly, it's a woman.

[p.64/65] Why?
I don't know why. A lot of stuff was written for Marilyn. I had a big, professional, emotional hang-up with Marilyn.

When did you meet Marilyn?
When I first came out and started working with Billy in '53. She was rehearsing a musical at 20th—I remember she was doing a dance routine with [the choreographer] Jack Cole on a hot, sweaty soundstage in grungy rehearsal clothes, all
covered with sweat, and she was just edible—glorious.
Poor Marilyn. I did two pictures with her and got to know her pretty well. She was a sad, sad, sad creature. She was sick. In a rightly ordered world, she would have been in a nuthouse. She was psychotic. Once you got to know her, one couldn't feel sexy about her. She was pathetic, sad. You just wanted to comfort her, cuddle her, father her, say, "It's going to be all right, child."

Did she ever involve herself, critically or otherwise, in the process of writing?

Did she make script suggestions?
Not that I ever heard.

She would read the lines as written?
If she could remember them, and she couldn't.

If she couldn't, then she might do some interpolation?
No. She'd burst into tears and run off. The scene on the bus in Bus Stop, where she's pouring her heart out to Hope Lange, was a nightmare to shoot. "Rear projection" wasn't as good as it is now, so they kept running out of film. We had this rickety insert of a bus, and a rear projection screen, and Hope and Marilyn with a big, long speech, and Marilyn couldn't remember
the words. Josh's dialogue director was propped up just outside of the screen, feeding her the lines, which she would parrot back. She had reached a point in her neurosis where if anybody said, "Cut!" she took it as an affront, burst into tears, and ran into her dressing room. So Josh never said cut. He'd run the whole nine hundred feet, keep running it and running it while he talked to her.
He was a huge man. Josh, so most of the time the screen was filled with Josh's behind and Marilyn's face, with this voice coming from the sky reading the lines that Marilyn would parrot. It took four days to shoot this scene, but it cut together like a dream, partly because Hope Lange is a professional actress and we'd cut to her. Little pieces of what Marilyn would do were inspired, magical, but interspersed with tears and "oh, shit!" and "what the fuck!" and getting her back together—all of it with the camera running because you couldn't say cut. God, the goings-on!

>> source web interview & photo:
livre en ligne sur backstory 3 descendre jusque page 45, page 64.

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20 octobre 2007

29/08/1956 Publicité Bus de Bus Stop


 Publicité américaine lors de la sortie du film Bus Stop en 1956
Affichage promotionnel du film sur le toit et côté transversal d'un bus
le quartier Spring Street de Los Angeles
et le boulevard de Chinese Theatre.

bustop  1956 
bustop2  Marilyn_Monroe_Bus_Stop_4 
bustop3 bustop5 bustop7_in1955_frommetrolibraryandarchive
bustop4 bustop_advv

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1956 - Portraits Marilyn par Cardiff


Photos promotionelles de Marilyn Monroe, qui porte ici des extensions, lui permettant de jouer avec sa longue chevelure blonde, pour le film The Prince and the Showgirl (Le Prince et la Danseuse) en 1956 par le photographe Jack Cardiff
Promotional photos of Marilyn Monroe, here wearing extensions' hair, allowing her to play with her long blonde hair, for the film The Prince and the Showgirl in 1956 by photographer Jack Cardiff.

lot997-203007_0 lot997-203005_0 lot997-203006_0 
1956_by_Jack_Cardiff_long_hair_sleeping_010_010_1 mm_JC_25b 1956_by_Jack_Cardiff_long_hair_sleeping_020_010_1_c1 
mm_JC_04b mm_by_Jack_Cardiff__1956 1956_by_Jack_Cardiff_long_hair_wind_010_020 

> couverture de magazine / dans la presse:
ph_cardiff_mag mag_lexpress_1962_cover mag_2012_08_article

> photos de Allan "Whitey" Snyder
film_pr_studio_snyder_5 28_ss_tdy_120313_marilyn_7 15_ss_tdy_120313_marilyn_16 
1956-tpats-by_snyder-1  1956-tpats-by_snyder-2 

© All images are copyright and protected by their respective owners, assignees or others.
copyright text by GinieLand.



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1955, Broadway - Pause café pour Marilyn & Lee Strasberg

Marilyn Monroe en compagnie de Lee Strasberg (qui dirige l'Actors Studio) et des amis de l'Actors Studio, dans un café à Broadway, New York, en 1955 juste après avoir assisté à la représentation de la pièce A Hatful of Rain.
Marilyn Monroe with Lee Strasberg (director of the Actors Studio) and friends from the Actors Studio, in a Broadway cafe in 1955 just after they attend the play A Hatful of Rain.

1955_new_york_actors_studio_coffee_with_Lee_Strasberg_1  1955_new_york_actors_studio_coffee_with_Lee_Strasberg_2 
1955_actorstudio_1 1955_actorstudio_2 1955_actorstudio_3
1955_actorstudio_lefigaromag_p6 1955_actorstudio_lefigaromag_p7 1955_actorstudio_lefigaromag_p8 

> de gauche à droite / from left to right:
Frank Corsaro, Michael Gazzo, Marilyn Monroe et Lee Strasberg.

© All images are copyright and protected by their respective owners, assignees or others.
copyright text by GinieLand.




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19 octobre 2007

Timbre France, 2003

Andy Warhol: Marilyn Monroe, 1967


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18 octobre 2007

Timbres Saint Vincent - Bequia, 2003


© All images are copyright and protected by their respective owners, assignees or others.

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