Cucumber Water
My name is Sarah. I'm an actress. I hail from the Northwest. Laughter is my reaction, but I'm not easily impressed. I'm sort of a contradiction. Let's live outdoors and watch the moon rise every night.

All posted content belongs to the original authors/creators (not me) unless specifically attributed to myself. If you wish your content removed, let me know, and I will do so. I ask that you please give me credit if you reblog any of my writing.
Cucumber Water
+
Naturally.
+
"Fare forward, travellers! not escaping from the past
Into different lives, or into any future;
You are not the same people who left that station
Or who will arrive at any terminus,
While the narrowing rails slide together behind you;
And on the deck of the drumming liner
Watching the furrow that widens behind you,
You shall not think ‘the past is finished’
Or ‘the future is before us’.
At nightfall, in the rigging and the aerial,
Is a voice descanting (though not to the ear,
The murmuring shell of time, and not in any language)
‘Fare forward, you who think that you are voyaging;
You are not those who saw the harbour
Receding, or those who will disembark.
Here between the hither and the farther shore
While time is withdrawn, consider the future
And the past with an equal mind.
At the moment which is not of action or inaction
You can receive this: “on whatever sphere of being
The mind of a man may be intent
At the time of death” —that is the one action
(And the time of death is every moment)
Which shall fructify in the lives of others:
And do not think of the fruit of action.
Fare forward.
O voyagers, O seamen,
You who come to port, and you whose bodies
Will suffer the judgement of the sea
Or whatever event, this is your real destination.’
So Krishna, as when he admonished Arjuna
On the field of battle.
Not fare well,
But fare forward, voyagers."
"Dry Salvages," Four Quartets, T.S. Eliot
+


Nazaré 1959 by Matik Hine
+
+
thethirdpersona:

Grand Budapest Hotel | Wes Anderson, 2014
thethirdpersona:

Grand Budapest Hotel | Wes Anderson, 2014
thethirdpersona:

Grand Budapest Hotel | Wes Anderson, 2014
thethirdpersona:

Grand Budapest Hotel | Wes Anderson, 2014
thethirdpersona:

Grand Budapest Hotel | Wes Anderson, 2014
+
+
+
heidisaman:

"The less money you take, the more freedom you have. I’ve never made a film where I don’t have final cut. And I can’t imagine doing that. That just seems like it would be turmoil. I edit because that’s where you learn how to direct, really. All the answers of what you should have done are in the editing. I miss out on being able to be in a conversation with someone, and I can see where that can be a really valuable thing—to have someone with more of a distance to be having a dialogue with. You write alone, and scouting is really lonely. Then you do this really intense thing with a lot of people. Afterwards, I usually feel like I want to hide away with my film again and go through the process of making sure that every possible thing has been tried. I’m a big believer in letting your film be bad for a while, and not trying to get to a good cut too quickly. I just want to be involved and I want that process, because it makes me think of what lens I should have used or what I should have done. It’s such a learning experience that I hate to miss out on it."
— Kelly Reichardt on why she edits her own films
Still from Wendy and Lucy (2008, dir. Kelly Reichardt) 
+
No really.
+
This is a thing happening right now.