They lie in all the pools, pale faces, deep deep under the dark water. I saw them: grim faces and evil, and noble faces and sad. Many faces proud and fair, and weeds in their silver hair. But all foul, all rotting, all dead. A fell light is in them.
Yigal Ozeri. Untitled, Priscilla in ecstasy, 2007, Oil on paper mounted on board
[Joel, on filmmaking] I can almost set my watch by how I’m going to feel at different stages of the process. It’s always identical, whether the movie ends up working or not. When you watch the dailies, the film that you shoot every day, you’re very excited by it and very optimistic about how it’s going to work. Then when you see it for the first time you put the film together, the roughest cut, you want to go home and open up your veins and get in a warm tub and just go away. Then it gradually, maybe, works its way back, somewhere toward that optimism you were at before.
Bandit’s Roost (1888), by Jacob Riis, from “How the Other Half Lives.” Bandit’s Roost, at 59½ Mulberry Street (Mulberry Bend), was the most crime-ridden, dangerous part of all New York City.