Learn More About Terrence Malick’s Expansive ‘Voyage of Time’ & the ‘Tree of Life’ Director’s Cut

Yesterday, in our interview with Michael Shannon, we shared that although he was cut from Terrence Malick’s To the Wonder, "it was still a fascinating experience." He then went on on to say that he, "spent a day down there walking around with Ben Affleck and doing these completely random scenes where the camera was just going all over the place, and you never knew where it was going to be." And speaking the the enigmatic director’s desire to capture the ineffable moments in everyday life said that, "I’ve heard Malick say, ‘I’m just trying to find the spontaneous, I just want something truly spontaneous to happen.’"

And in today’s bit of fascinating Malickian news, we learn that his expansive project Voyage of Time is looking to be completed and in theaters by 2014. In an interview with The Playlist, Malick’s co-editor Billy Weber stated that the film currently has an undisclosed date and distributor lined up and is a "big IMAX film." With narration from Emma Thompson and Brad Pitt (hey, maybe not too far off from that perfume commercial mashup), the film is "aesthetically and scientifically accurate," venturing "the whole of time, from birth of the universe to its final collapse,"following "the first signs of life, bacteria, cellular pioneers, first love, consciousness, the ascent of humanity, life and death and the end of the universe." Well Malick, I tip my hat to you—that is quite an undertaking. Actually, it seems like all his films have been but hints at those very themes, this shaping up to be the amalgamation of his interests and desires.

In speaking with Weber, it was also revealed that, yes, Malick still working on the long-awaited directors cut of The Tree of Life—which is rumored to be well over five hours long. However, Weber stated that "although he doesn’t know how much footage was even shot for the movie" there will be deleted scenes on the DVD release. So I suppose we’ll have to wait and see on that one. But in the meantime, it’s great to know that for someone who spent so many years parted from the camera, that there looks to be no shortage of Malick to come. And with Knight of Cups and his still untitled other drama shot back to back in the last year, we can all stand on guard only waiting to discover more.

This New ‘Man of Steel’ Trailer Needs to Cool It

Good lord, people. Remember when superhero movies weren’t so satisfied with themselves? I get that Zach Snyder, auteur behind overblown green-screen epics like Watchmen, 300, and Sucker Punch (he’s really the thinking man’s Michael Bay, huh?), doesn’t want to be known solely for making the least subtle genre films ever, but in his attempt to make what appears to be a very serious drama featuring a man in tights and a cape is looking more and more like the least fun thing in the world. And also, prettttty gay. I mean, tights and a cape and that dude’s jaw. Come on. This is basically a Terrence Malick film but with explosions and a familiar plot mixed in with all the soft-focus shots of wheat. 

Diane Kruger Discusses ‘The Host,’ Desert Hiking, and the Joy of Radishes

It’s a chilly evening in New York as I greet Diane Kruger at the restaurant of the NoMad Hotel, a sceney new destination in the recently-made-up NoMad (“North of Madison Square Park”) neighborhood, where midtown suits supposedly mingle with downtown denim. Kruger has just arrived back in the States from a two-week vacation in South America, one of those life-affirming adventures with her longtime partner, actor Joshua Jackson, that involved desert trekking, mountain climbing, and long, quiet moments beholding the vast beauty of the natural world. It was a welcome break from her hectic schedule, as the German-born veteran of such films as Troy, National Treasure, and Inglorious Basterds has been working nonstop. After completing work in The Host, a film based on the book by Twilight author Stephenie Meyer, she immediately moved on to the Terrence Malick-helmed The Green Blade Rises, and shot a pilot for FX called The Bridge. But tonight, she seems relaxed and happy to be back in New York, looking cozy and gorgeous in a white patterned sweater. She’ll soon fly back to her house and vegetable garden in Los Angeles before alighting once again in Paris, where she keeps an apartment, and, apparently, her heart. But, for now, we’ll share some radishes and thoughts on acting, gardening, and the meaning of home.  

Waiter: Can I get you something to drink?

Diane Kruger: Can I get the Riesling? Is it dry?

It’s a bit dry.

A bit dry? 

It’s quite dry.

I’ll try it. 

BlackBook: Mad Men’s back soon. I thought Season 4 was the best season.

I’m really good friends with January Jones, so I hope to see her more in the show.  She said when she signed on that her character didn’t even have a name. She was “wife of.” [Drinks arrive. Clinking glasses.] Cheers, nice to meet you. 

Waiter: The menu goes from the raw vegetables here to the meatier components. These radishes are dipped in tempura butter. I don’t even like radishes normally but I love these. 

I’m for the radishes.

BlackBook: Let’s radish it up.

The food here is very good. Funny enough, I’m actually going to the Fat Radish later tonight. I love radishes. When I have a dinner party I always have radishes.

You cook? 

I do.

I gave up on cooking a few years ago and never looked back. What’s your special dish?

I don’t really have one. I just love the process of cooking. And I’m obsessed with cookbooks.  I collect cookbooks and I love to just pick a recipe and spend a day cooking it. It’s my way of unwinding. I’ll go to the market on Saturday and buy everything fresh. It really takes my mind off everything. We just started a garden, so we try to grow as much as we can. It’s so satisfying. Beets, tomatoes, and cucumbers. So much food. Now I’m pickling stuff, which I’ve never done before in my life.


They grow like wildfire. It’s so cool having a garden.

Tomatoes are the best when you grow them yourself.

Bizarrely, our tomatoes didn’t turn out as good as we’d hoped. We bought the tiny plants and I felt like they were watery.

(Waiter arrives with what looks like a hat box with radish hors d’oeuvres on top.)

Tell me about your trip to Chile. Was that a vacation?

Yes, it was great. We were there 14 days.  We flew into Santiago. It was my gift to my partner, Josh (Joshua Jackson). He just finished a project and it was his lifelong dream to go to Chile. Have you been to Patagonia?

Not yet. I’m a northern hemisphere guy.

We hiked every day. (Shows some pictures on her phone.) We went to the Atacama. It’s an elevated desert. We hiked up a mountain and summited at 18,600 feet.

That’s pretty hardcore. You’re not lounging on a beach.

There’s so much space. It was different than anything I’ve ever seen.

Was it warm down there?

Yeah, Atacama was really hot, it was 85 degrees. Patagonia was cooler.

I’ve never been to South America at all.

I’ve been to Argentina, Uruguay …

Our photo editor, Lorenna Gomez-Sanchez, is Uruguayan. 

Yeah, from where?

Uh, I’m not sure. In the middle somewhere. Uruguay City?

That’s funny.

And she’s a vegetarian. She says it’s impossible to be a vegetarian down there.

And on a diet, forget it. All they have is meat.

How’s the Riesling?

It’s very nice. I love wine. Every two or three years I try to go on a wine tour. Go to vineyards and buy some wine. 

I write about booze but find wine difficult to describe.

It’s very difficult to describe. I find it hard to tell people why one wine is better than another. And you read descriptions in Wine Spectator like “chocolatey.” What does that mean?

No idea. Tell me about The Host. Looks like an interesting story.

It’s a sci-fi. I personally happen to be a big sci-fi fan. I love Star Trek and Star Wars and all those. No one’s every offered me to be in that genre, so I was hesitant at first. But my character was very liberating to play. In sci-fi most characters are larger than life. Your imagination can really break free. You can create something that is out of the norm. Also, in The Host, the aliens have a human body, so it doesn’t involve prosthetics.

Your character is the Seeker. Are you good or evil or what?

The jury is out on that. Earth has been invaded and the alien souls are going into human bodies. Usually in sci-fi movies the aliens are always evil. They take over earth and destroy everybody. But in this case they’re actually better than human beings, because there are no wars, there’s no competition, nobody gets killed and so forth. The flip side of that being the human spirit gives way to the alien that enters their body. And there are pockets of human resistance that don’t want to be taken over by this alien force. What’s striking is that the aliens are very peaceful. They don’t use guns. They just want to live in peace with each other.

Were you offered this role or did you go out of your way to ask for it?

They offered it to me. I had just finished being Marie Antoinette in a French movie called Farewell, My Queen, and this was the total opposite of what I’d been doing. I’m a big fan of (Host director) Andrew Niccol—Gattaca is one of my favorite movies ever—and (author) Stephenie Meyer is a big draw. (Actor) Saoirse Ronan being attached to the project was as well. There’s a gravity to her that adds something to this genre. For half the film she has two people living inside of her. Andrew actually recorded the other person’s dialog and played it in her ear while we were doing scenes together, so she had to talk to me while she had this voice in her head to make her believe in the scenes.

What else do you have lined up?

I did a pilot for FX called The Bridge. I play a girl that has a mild version of Asperger’s, so she’s socially awkward. That was a lot of fun to do and we’ll see where it goes. And immediately after this movie I made a black-and-white film with Terrence Malick, called The Green Blade Rises. It’s about Abraham Lincoln as a child. I play his stepmother. She gave him books and convinced his dad to let him go to school. It’s Lincoln as a five-year-old, six-year-old.

You work in every genre, act in every language? Even comedies?

Pretty much. I made a comedy last year. A French comedy. It’s challenging to go back and forth.

You’ve been so many things. You were a ballet dancer in London, a model in Paris, and an actor all over the world. What’s your next career?

The older I get, the more I realize that it’s about being creative, pushing yourself to extremes, and allowing yourself to be vulnerable. When you’re young you have open eyes. The older you get, the more closed off you get to the world. But with acting, and also directing, it’s your job to be as open as possible. I find it freeing to know that I can still feel that much, the extreme emotion.

It’s good to keep an open mind as you get older, but it takes a lot more work than when you’re young. Still, it bugs me when I hear people my age complaining about culture today, like “there’s no good music anymore.” I’m like, do you remember some of the stuff we listened to in high school? It was terrible.

Oh me too. In The Bridge, there’s a scene where I drive this car that belonged to my sister, who was killed in the early ‘90s. There’s a cassette stuck in the player, so it plays the same songs over and over. The writers were asking “What should we put on the tape?” And I was like, I don’t know, Journey, Britney Spears? They were like UGH! 

The small town that you’re from, Algermissen, is in what was once West Germany?

Yes, It’s an hour and a half south of Hamburg. It’s called the Lower Saxony area. But I left Germany so young.

You left home at an early age, and you’ve traveled and worked all around, lived all over the place. Do you have an idea of home, or are you comfortable wherever you are? 

It used to be worse when I was younger and modeling. Now I have a green card so America is a big part of my life—there are so many things I love about this country. But I think I’ll always be connected to Paris. Germany for me is like a homeland, but, other than my family, I don’t have a lot of attachment to Germany, other than culturally. Paris, to me, is home. In America, I want to say New York is more home than LA, but given that my job’s there I had to give up my New York apartment. But I’ll be back.

What language do you think in? What language do you dream in?

Usually English, but when I’m in Paris for a long time I dream in French.

Your dad was a computer specialist?

I think he was. I haven’t seen my dad in a long time but I think he worked with computers.

So much for basing questions on your Wikipedia page. Is there anything you’re sick of being asked in interviews?

What do you identify being? Because there’s no good answer to it. I get asked that a lot.

And I couldn’t help myself. Okay, what director would you like to work with?

My dream role would be with Darren Aronofsky.

It could happen.

I know!

You have plans after this?

Yeah, dinner. Josh is going to come pick me up. And here he is. This is Josh.  (Small talk. Nice to meet you. Can you take these magazines up to the room. See you in five…)

I like him, he seems nice.

(Sweetly) Yeah, he’s alright.

Were you always confident and glamorous?

It was different when I was little. I was definitely an outcast at school. I did not fit in. I was a ballerina. I was little and dainty in Germany where all the girls are six feet tall. I went to a Catholic school and was rebellious. I just never felt like I fit in at all. I hated school. I dropped out when I was pretty young.

Do you fit in now?

Not really, but I’ve learned to make it work.

Do you have any enemies?

There are people who don’t like me very much, but I’m not sure they’re enemies. But I do think there’s a bit of a double standard. As a woman, when you have something to say, often you’re labeled difficult. But if a guy does it he’s labeled as passionate about his work. So, you like radishes now?

Image via thehostthefilm.com 

[Related: BlackBook New York Guide; Listings for The NoMad Hotel, The NoMad Restaurant, The Fat Radish; More by Victor Ozols; Follow me on Twitter

Take a Look at Terrence Malick’s Elemental Obsessions With ‘Malick: Fire and Water’

Terrence Malcik’s emotionally symphonic world of beauty vacillates between pleasure and pain, divinity and destruction, told through shadows of life that play out like memories rather than moments. And whether or not you were dazzled by To the Wonder, his latest and perhaps most divisive, there’s a undeniable grace there that exists and breathes inside all of his work. My favorite moments in To the Wonder had little to do with the characters, finding transfixed by his portrayal of the physical modern world—from the vacant fields of Oklahoma to the machines that watch over us with loving grace, and the ways in which he uses the camera like a gentle gust of wind to guide us. 

And when it comes to nature, Malick has always had an affinity for the elements of fire and water. For someone whose work plays so heavily with the philosophy and ideals of religion, it would be hard not to see his obsession with these elements as the juxtaposition of heaven and hell. His films are filled with sparks that ignite and liquids that soothe but oddly, To the Wonder was sans those elements in any strong way. 

But now, to indulge in your own obsession with Malick’s auteuristic harmony, you can watch "Malick: Fire & Water’ a brief but interesting super cut of his use of the two elements throughout his oeuvre. The description for the video reads:

Of all the recurring signatures of Malick, his use of fire and water might be the most telling, in part because there’s a significant shift between early Malick (Badlands & Days of Heaven) and late Malick (The Thin Red Line, The New World, The Tree of Life & To the Wonder). Early Malick favors fire. Late Malick favors water. In his most recent film, Malick forgoes fire altogether for the first time in his career. Water reigns.

Take a look below.

Malick // Fire & Water from kogonada on Vimeo.

From Cronenberg to Tarantino, Here’s What You Should Be Seeing This Weekend in NYC


In terms of film, this is a good week to be sick or helplessly in love—which I suppose, are generally the same thing. But between Brandon Cronenberg’s bloody good first feature Antiviral, Todd Hayne’s brilliantly frightening Safe, and Terrence Malick’s latest poem of emotion and grace To the Wonder, there are plenty of painful and gorgeous movies to sink your teeth into. And after the death of beloved film critic and cinematic enthusiast Roger Ebert last week, we should be encouraged more than ever to go to the movies, to enjoy the art of film, and truly have an experience at the cinema. So this weekend, curl up in a darkened theater and see everything from Quentin Tarantino’s first fantastically gory feature to Kubrick’s horrific masterpiece, and a bit of something for everyone in between. I’ve rounded up the best in what’s playing throughout New York so peruse the list and enjoy.



IFC Center


2001: A Space Odyssey

Beverly Hills Cop

Play Misty For Me

Room 237

Simon Killer

Upstream Color

The Shining








Spirited Away

Porco Rosso

Howl’s Moving Castle

Kiki Delivery Service






Museum of the Moving Image

Febre do Rato (Rat Fever)

Y Sin Embargo

Las Cosas Como Son (Things the Way They Are)





Nitehawk Cinema

It’s a Disaster


Spring Breakers

Burnt Offerings

Inner Space

Room 237

A League of Their Own

A Skin Too Few





Film Forum

The Gatekeepers

Andre Gregory: Before and After Dinner

Will Success Spoil Rock Hunter?

House of Bamboo

The Adventures of Robin Hood






Landmark Sunshine

Reservoir Dogs

To the Wonder

The Angels’ Share





Cinema Village

The Brass Teapot


American Meat

Bert Stern: Original Mad Man

Israel Film Center Festival




Film Society Lincoln Center

To the Wonder

Bye Bye Brazil

No Place on Earth

Funny Face

Subway to the Stars

The Big City





Never on a Sunday
The Golem
Chuck and Buck
The Trouble with Money

Read Roger Ebert’s Final Glowing Film Review for Terrence Malick’s ‘To the Wonder’

For almost fifty years, Roger Ebert shared his love of cinema with the world, writing reviews that praised and inspired. He used his work to not only give us an appreciation for the art of film but to always teach us something about life and love. And this weekend, the Chicago Sun-Times published Ebert’s final film review, which happened to be for a film by a director whose work lives inside the whispers of all-encompassing love and divinity. "There were once several directors who yearned to make no less than a masterpiece but now there are only a few. Malick has stayed true to that hope ever since his first feature in 1973," said Ebert, whose review of Terrence Malick’s latest To the Wonder speaks to its nature of reaching the human soul.

Jim Emerson’s "Remembering the Roger I Knew," written last week, noted that:

In one of Roger’s last emails, responding to my concerns that he was firing off messages that were garbled or didn’t make sense, he said he sometimes felt that way himself, but wanted to assure me that he was still in possesion of all his marbles.

"JIm, old friend, I’m in bad shape. I type on my lap in a hospital bed. I’m on pain meds.  Did the review of ‘To the Wonder’ make sense to you? Such a strange movie.

But it does make sense, and it truly speaks to the essence of Malick’s work with a more clear and direct voice than most are able to articulate. One portion of the review reads:

A more conventional film would have assigned a plot to these characters and made their motivations more clear. Malick, who is surely one of the most romantic and spiritual of filmmakers, appears almost naked here before his audience, a man not able to conceal the depth of his vision.

“Well,” I asked myself, “why not?” Why must a film explain everything? Why must every motivation be spelled out? Aren’t many films fundamentally the same film, with only the specifics changed? Aren’t many of them telling the same story? Seeking perfection, we see what our dreams and hopes might look like. We realize they come as a gift through no power of our own, and if we lose them, isn’t that almost worse than never having had them in the first place?

Check out the review in its entirety HERE and see the film for yourself this Friday.

Checking Into the Heartbreak Hotel: What’s Happening This Week on Hulu

Speaking to his work as a filmmaker and his own emotional sensibility, John Cassavetes once said, "That’s all I’m interested in—love. And the lack of it. When it stops. And the pain that’s caused by loss of things that are taken away from us that we really need." His films exposed the painful struggles of love and turmoil loving another causes on the human heart. And in its most overwhelming and passionate form, love is rarely healthy, perhaps no more than an illness from which you’ll never fully recover. And according to the Criterion Collection’s Amour Fou section of films, love is apparently all I am interested in as well. Featuring some of my favorite features from Terrence Malick’s dangerous love story Badlands to Nicolas Roeg’s obsessive psychodrama Bad Timing, to Cassavetes’ soul-crushing A Woman Under the Influence and Liliana Cavani’s darkly erotic The Night Porter, these are films best enjoyed with a glass of whiskey on standby. 

But this week, Criterion and Hulu are showcasing rare films of bad romance that delve into the misguided, corrosive, and often violent nature of love. Ranging from Gus van Sant’s first feature Mala Noche to Keisuke Kinoshita’s rarely seen Snow Flurry, these intense dramas penetrate the soul and illuminate the hardships of love. Get acquianted with these rare and stunning films and decide whom you’d like to break your heart tonight. Enjoy.

Miss Julie

"Swedish filmmaker Alf Sjöberg’s visually innovative, Cannes Grand Prix-winning adaptation of August Strindberg’s renowned 1888 play brings to scalding life the excoriating words of the stage’s preeminent surveyor of all things rotten in the state of male-female relations. Miss Julie vividly depicts the battle of the sexes and classes that ensues when a wealthy businessman’s daughter (Anita Björk, in a fiercely emotional performance) falls for her father’s bitter servant. Celebrated for its unique cinematic style (and censored upon its first release in the United States for its adult content), Sjöberg’s film was an important turning point in Scandinavian cinema."

Mala Noche

"With its low budget and lush black-and-white imagery, Gus Van Sant’s debut feature Mala Noche heralded an idiosyncratic, provocative new voice in American independent film. Set in Van Sant’s hometown of Portland, Oregon, the film evokes a world of transient workers, dead-end day-shifters, and bars and seedy apartments bathed in a profound nighttime, as it follows a romantic deadbeat with a wayward crush on a handsome Mexican immigrant. Mala Noche was an important prelude to the New Queer Cinema of the nineties and is a fascinating capsule from a time and place that continues to haunt its director’s work."

Snow Flurry

"A generation-spanning drama from 1959 that partly concerns the fallout from a couple’s failed suicide pact, shot in wonderfully expressive widescreen and color."

Double Suicide

"Many films have drawn from classic Japanese theatrical forms, but none with such shocking cinematic effect as director Masahiro Shinoda’s Double Suicide. In this striking adaptation of a Bunraku puppet play (featuring the music of famed composer Toru Takemitsu), a paper merchant sacrifices family, fortune, and ultimately life for his erotic obsession with a prostitute. Criterion is proud to present Double Suicide in a stunning digital transfer, with a new and improved English subtitle translation."

Pale Flower

"In this cool, seductive jewel of the Japanese New Wave, a yakuza, fresh out of prison, becomes entangled with a beautiful and enigmatic gambling addict; what at first seems a redemptive relationship ends up leading him further down the criminal path. Bewitchingly shot and edited, and laced with a fever-dream-like score by Toru Takemitsu, this gangster romance was a breakthrough for the idiosyncratic Masahiro Shinoda. The pitch-black Pale Flower (Kawaita hana) is an unforgettable excursion into the underworld."


"This lush, Technicolor tragic romance from Luchino Visconti stars Alida Valli as a nineteenth-century Italian countess who, during the Austrian occupation of her country, puts her marriage and political principles on the line by engaging in a torrid affair with a dashing Austrian lieutenant, played by Farley Granger. Gilded with ornate costumes and sets and a rich classical soundtrack, and featuring fearless performances, this operatic melodrama is an extraordinary evocation of reckless emotions and deranged lust, from one of the cinema’s great sensualists."


"Julien Duvivier’s film, starring Merle Oberon as a woman looking back on a life of doomed affairs."

From Dennis Hopper to Terrence Malick, Here Are the Films You Should Be Seeing This Weekend in NYC

I don’t know about you, but I fully intend on spending my weekend curled up with a box of Junior Mints in a darkened theatre. It’s been a long week thus far and with the myriad premieres and screenings going on over the new few days, you really have no excuse to not get yourself into a cinema. From Antonio Campos and Shane Carruth’s stunning sophomore efforts to Terrence Malick’s latest poem of emotions, to the wonder of Dennis Hopper and the debut of Darren Aronofsky, there’s a certainly a diverse mix of films to see. So to get you ready, I’ve compiled the best of what’s playing around the city this weekend—take a look and go buy yourself some candy and/or popcorn. Enjoy.



IFC Center

Simon Killer
Beyond the Hills
Gimme the Loot
Room 237
The We and the I
Upstream Color
2001: A Space Odyssey
House (Hausu)
The Shining



Landmark Sunshine

Spice World (in 35mm!)
The Place Beyond the Pines
The Sapphires
My Brother the Devil


Nitehawk Cinema

Easy Rider
Room 237
Spring Breakers
Pat Garrett and Billy
Bad News Bears



Film Society Lincoln Center

Room 237
From Up on Poppy Hill
No Place on Earth
Stones in the Sun
Death for Sale
My Fair Lady




Museum of the Moving Image

To the Wonder
The Face You Deserve
The Headless Woman
Zidane: A 21st Century Portrait




Somebody Up There Likes Me
Castle in the Sky
My Neighbor Totoro
Princess Mononoke



Angelika Film center

No Place on Earth



Village West Cinema

On the Road
6 Souls
Lotus Eaters
Ginger & Rosa




Me You and Everyone We Know
Laws of Gravity
Viktor und Viktoria
Winter’s Bone

Sam Shepard Joins New Discovery Channel Miniseries, Let’s Celebrate With a Look Back at His Life

Sam Shepard: Pulitzer Prize-winning playwright, seasoned actor of stage and screen, and rock n’ roll jesus with a cowboy mouth. There’s no one quite like Sam—no one. And in the last forty years he has graced us with his unique and true American voice, creating brilliant plays and films that break out hearts and ignite the fire that lives inside of every man and every women. Needless to say, I love him dearly and in my mind, any day warrants a little Sam appreciation.

However, today we learned that he will now be replacing Chris Cooper in the Discovery Channel’s first ever scripted project, the miniseries Klondike. Naturally, Sam will be playing Father Judge, a man who "has come to town to atone for his violent past on a mission to save souls." Well, Sam you’ve already saved mine. And thankfully, this year we’ll see no shortage of him—first with Jeff Nichols’ upcoming Mud, then John Well’s August: Osage County, and Klondike. So, let’s take a look at Sam through the years, from his role in Terrence Malick’s Days of Heaven, to his reading from recent years. Enjoy.



Sam as The Farmer in Days of Heaven


Sam and Jessica Lange in Frances

Sam, 1971

Sam as Chuck Yeager in The Right Stuff

Paris, Texas‘ "I Knew These People" Scene

Sam and Patti Smith Performing Their Play Cowboy Mouth

Sam Shepard on His Family Plays (Parts 2, 3)

Sam Shepard Talks Days of Heaven


Sam being Sam

The Moth and the World Science Festival present Sam Shepard

Sam Reads From Day Out of Days

More Sam and Patti Smith 


Sam Reads at Trinity College Dublin