Seraphic Secret

Robert J. Avrech: Emmy Award winning screenwriter. Religious Zionist. Republican. Movie fanatic. Gun owner. Helplessly and hopelessly in love with my wife since age nine.

Friday Photos: True Hollywood Confessions

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Terri Garr, Gene Wilder, ? & Mel Brooks in Young Frankenstein (1974). “I was in the middle of shooting the last few weeks of Blazing Saddles somewhere in the Antelope Valley, and Gene Wilder and I were having a cup of coffee and he said, I have this idea that there could be another Frankenstein. I said not another – we’ve had the son of, the cousin of, the brother-in-law, we don’t need another Frankenstein. His idea was very simple: What if the grandson of Dr. Frankenstein wanted nothing to do with the family whatsoever. He was ashamed of those wackos. I said, “That’s funny.” —Mel Brooks
Terri Garr, Gene Wilder b. Jerome Silberman (1933 – 2016), Marty Feldman, Peter Boyle and Mel Brooks on the set of Young Frankenstein (1974).
“I was in the middle of shooting the last few weeks of Blazing Saddles somewhere in the Antelope Valley, and Gene Wilder and I were having a cup of coffee and he said, I have this idea that there could be another Frankenstein. I said not another – we’ve had the son of, the cousin of, the brother-in-law, we don’t need another Frankenstein. His idea was very simple: What if the grandson of Dr. Frankenstein wanted nothing to do with the family whatsoever. He was ashamed of those wackos. I said, “That’s funny.”
—Mel Brooks

 

Tim Walker Karen Elson & ‘Atlas’ the Lion on posing table, Shotover House, Oxfordshire 2013 Archival pigment print on Moab supergloss paper 105.5 cms x 90.5 cms
Tim Walker
Karen Elson & ‘Atlas’ the Lion on posing table, Shotover House, Oxfordshire 2013 Archival pigment print on Moab supergloss paper 105.5 cms x 90.5 cms

 

Vija Celmins (b. 1938), Heater, 1964. Oil on canvas, 47 9/16 × 48 in. (120.8 × 121.9 cm). Whitney Museum of American Art, New York; purchase, with funds from the Contemporary Painting and Sculpture Committee 95.19 © Vija Clemens
Vija Celmins (b. 1938), Heater, 1964. Oil on canvas, 47 9/16 × 48 in. (120.8 × 121.9 cm). Whitney Museum of American Art, New York; purchase, with funds from the Contemporary Painting and Sculpture Committee 95.19 © Vija Clemens

 

Vincent van Gogh (Dutch artist, 1853-1890), Bridge in the rain after Hiroshige 1887.
Vincent van Gogh (Dutch artist, 1853-1890), Bridge in the rain after Hiroshige 1887.

 

Audrey Hepburn near Wall Street during the filming of Sabrina (1954) Photographer, Dennis Stock
Audrey Hepburn near Wall Street during the filming of Sabrina (1954) Photographer, Dennis Stock

 

Joseph Cornell Habitat Group for Shooting Gallery 1943 Mixed media 39.4 x 28.3 x 10.8 cm Purchased with funds from the Coffin Fine Arts Trust; Nathan Emory Coffin Collection of the Des Moines Art Center, 1975.27 Photo: Collection of the Des Moines Art Center © The Joseph and Robert Cornell Memorial Foundation/VAGA, NY/DACS, London 2015
Joseph Cornell
Habitat Group for Shooting Gallery
1943
Mixed media
39.4 x 28.3 x 10.8 cm
Purchased with funds from the Coffin Fine Arts Trust; Nathan Emory Coffin Collection of the Des Moines Art Center, 1975.27
Photo: Collection of the Des Moines Art Center
© The Joseph and Robert Cornell Memorial Foundation/VAGA, NY/DACS, London 2015

 

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Young Frankenstein Screenplay by Mel Brooks, Gene Wilder Based on Frankenstein by Mary Shelley
Young Frankenstein
Screenplay by Mel Brooks, Gene Wilder
Based on Frankenstein by Mary Shelley

 

Steven Hill b. Solomon Krakovsky (February 24, 1922 – August 23, 2016). Baruch Dayan Emet. Mr. Hill summed up his long career, not necessarily with regrets but with a clear eye, in a 1996 interview with The Times. “What we have here is a story of profound instability and impermanence,” he said. “This is what you learn at the beginning in show business; then it gets planted in you forever.”
Steven Hill b. Solomon Krakovsky (February 24, 1922 – August 23, 2016).
Baruch Dayan Emet.
Mr. Hill summed up his long career, not necessarily with regrets but with a clear eye, in a 1996 interview with The Times. “What we have here is a story of profound instability and impermanence,” he said. “This is what you learn at the beginning in show business; then it gets planted in you forever.”

 

Vija Celmins Freeway, 1966. Oil on canvas. 17 1/2 x 26 3/8 in. Collection of Harold Cook, Ph.D. © Vija Celmins. Image courtesy McKee Gallery, New York
Vija Celmins
Freeway, 1966. Oil on canvas. 17 1/2 x 26 3/8 in. Collection of Harold Cook, Ph.D. © Vija Celmins. Image courtesy McKee Gallery, New York

 

Tim Walker Kinga Rajzak on flying saucer, Eglingham Hall, Northumerland, 2009 Archival pigment print on Moab slickrock metallic pearl paper 102 x 85 cm
Tim Walker, Kinga Rajzak on flying saucer, Eglingham Hall, Northumerland, 2009 Archival pigment print on Moab slickrock metallic pearl paper 102 x 85 cm

 

Winslow Homer (American artist, 1836–1910) Nurse with Parasol
Winslow Homer (American artist, 1836–1910) Nurse with Parasol

 

Cup for ritual washing Artist: Nava Segev Jerusalem, Israel 1994 brass Donated to the Mina K. Avrech Collection of Judaica, Yeshiva University Museum by Robert & Karen Avrech.
Cup for ritual washing
Artist: Nava Segev
Jerusalem, Israel
1994
brass
Donated to the Mina K. Avrech Collection of Judaica, Yeshiva University Museum, by Robert & Karen Avrech.
Alex Hay Paper Bag 1968 Fiberglass, epoxy, paint, and paper 59 1/4 x 29 x 18 in. Whitney Museum of American Art, New York © Alex Hay Courtesy of the artist and Peter Freeman, Inc., New York Photograph by Jerry L. Thompson
Alex Hay
Paper Bag
1968
Fiberglass, epoxy, paint, and paper
59 1/4 x 29 x 18 in.
Whitney Museum of American Art, New York
© Alex Hay
Courtesy of the artist and Peter Freeman, Inc., New York Photograph by Jerry L. Thompson

 

“You need a man to go to hell with.” —Tuesday Weld Tuesday Weld in Pretty Poison, 1968.
“You need a man to go to hell with.”
—Tuesday Weld

 

Peter Blake, Tuesday 1961 © Peter Blake 2016. All rights reserved, DACS © Peter Blake 2016. All rights reserved, DACS License this image RotateFull screen Artwork details Artist Peter Blake born 1932 Title Tuesday Date 1961 Medium Enamel paint, wood, plastic and printed paper on board Dimensions Support: 476 x 267 x 38 mm Collection Tate

Peter Blake, b. 1932
Tuesday, 1961
Enamel paint, wood, plastic and printed paper on board, 476 x 267 x 38 mm
Tate Museum

 

Pretty Poison poster

 

Vija Celmins. Gun with Hand #1 oil on canvas, 24 x 34 in. 1964
Vija Celmins.
Gun with Hand #1
oil on canvas, 24 x 34 in.
1964

 

Dora Carrington 1893-1932 Spanish Landscape with Mountains circa 1924 Dora Carrington 1893–1932 Title Spanish Landscape with Mountains Date c.1924 Medium Oil paint on canvas Dimensions Support: 559 x 667 x 21 mm Collection Tate Acquisition Bequeathed by Frances Partridge 2004
Dora Carrington 1893-1932
Spanish Landscape with Mountains c. 1924
Oil on canvas
559 x 667 x 21 mm
Tate Museum

 

Harry Callahan Chicago, 1949
Harry Callahan
Chicago, 1949

 

Robert J. Avrech Silent Picture, Yellow Acrylic on canvas 18" x 23" 2016
Robert J. Avrech
Silent Picture #1, 2016
Acrylic on canvas
18″ x 23 1/4″

 

Lielle, Mickey and Maayan wish all our friends and relatives a peaceful and inspirational Shabbat.
Lielle, Mickey and Maayan wish all our friends and relatives a peaceful and inspirational Shabbat.

 

Ed Ruscha, The Absolute End, dry pigment on paper, 1982.
Ed Ruscha, The Absolute End, dry pigment on paper, 1982.

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