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Mr. Van Sant, do you still take photos?

If I see something good, yes.

What might that be?

I used to take photographs just to remember people. I would take a Polaroid picture just against the wall in the light – the window was always right next to the person. I would take photos of somebody and there would be just this one photo that I would take so that I could remember them.

You couldn’t remember people otherwise?

Well we didn’t have digital photography and you couldn’t find pictures of people unless they brought them in. So when I met interesting people – not only actors but also kids like Flea or Anthony Kiedis – I would take a picture or else I’m going to have to go find a rock magazine and cut it apart to find a photo of them. Nowadays you just google them and hundreds of pictures appear. But at the time, in the ’80s, I used my camera. I used Polaroids so that I had the picture instantly; I could put it in a group and I could see how the group looked.

Is the book of portraits you published a long time ago the result of these photos?

Yes. I just started using 665 Polaroid film, which has a really nice negative that goes with it, with the idea that I could later scan the negatives and have a show. Or not scan, because you didn’t scan at the time, but blow them up and have a photography show. And then later I did have a photography show and a friend also made a book called 108 Portraits. So that was really the book made from the photographs.

“It’s weird how you always end up losing your inspiration.”

How do you feel about being photographed yourself? I’ve seen pictures that Hedi Slimane took of you.

Oh yeah, the ones that were on his website? Well, those pictures are so… I think they’re bad looking.

You don’t like them? I think he has a great eye.

He’s really good. He’s a friend, so he just took those pictures over at my house. We were going on a hike. I don’t mind if he takes pictures. I don’t really mind pictures so much, but I really don’t like posing for pictures. Only because you become a part of a project, of someone’s art project. It’s harder than being interviewed.

It’s easier to be yourself in an interview than it is in a picture.


Unfortunately we will photograph you as well.

That’s good. I don’t mind when people take my photo. But a lot of times they go, “Can you do this, can you do that.” You have like seven different places that you’re supposed to look at and it just gets too much.

Who are the photographers that inspire you?

Eggleston is one of the big ones for me and my cinematographer. We always kind of have him in mind.

So do you use specific photographers as references for the look of a film?

When you’re planning a film you’re imagining all these fantastic things. If you’re using Metropolis or something as inspiration you see all this stuff and then by the time you get to shooting your film it looks like something different. It’s always weird how you end up losing your inspiration.

Why do you think that happens?

You have to be quite strict in order to not lose your original vision. I’m always giving in to certain things. So a lot of times it’s like, “Well, it’s going to take too long, so let’s just do it the way we normally do it.” Which is strange because you always want it to be different. So pretty much all my films look alike. They’re not super different. But mostly because we keep giving in and just going for the characters.

Speaking of characters, why does youth play such a big role in your work?

Somehow it was always the young characters that I related to the most. I remember how even when I first started I was writing stories that were set in high school. At that time, in the ’70s, there weren’t any youth-oriented films at all – except for a Disney film or something.

The trailer to My Own Private Idaho (1991), directed by Gus Van Sant, featuring River Phoenix and Keanu Reeves.

There must have been a few.

Okay, films like Oliver, but it wasn’t a genre that really existed. So when I was showing that script around the response was, “Well, this isn’t really a film that people make; it’s a thing people experience.”

It’s not just your stories that are often centered around youth culture, you also tend to work with young screen writers.

True. But Ben and Matt’s script, for example, was really, really good, too. I think that all three of us benefited from that collaboration even though I had already made some films. Still today if somebody asks me what films I’ve made, the only one they know is Good Will Hunting.

How did you get involved with them? It was their first script, after all.

Matt had tried out for To Die For, so I knew him and he was really good. I really wanted to use him, but I was unwilling to bend the rules of how I cast the film. He looked too much like the jock and I needed more of a dispossessed boy, which Joaquin [Phoenix] played well in the end. I wanted to use Matt so much, and I could have gone that direction, but I felt it might actually destroy the movie. So I knew him from that experience, sort of working with him, hanging out with him.

When did they approach you with the script for Good Will Hunting?

He’d written the script back then, but somehow I didn’t read it. Then it was later, like two or three years later, that a friend at Miramax gave me the script. When I read it I thought, “Wow, I’ve known about their script for three years and it’s actually really good.” So I called them right away and said, “This is good. If you want a director, I’ll do it.” But at the time they were trying to do all kinds of stuff with it. Jim Sheridan was going to direct it, then they wanted Redford to do it, Mel Gibson, and all these people. Finally they just ran out of people and I was the only one left.

Why did everybody else pass if the script was so good?

Because Matt and Ben were starring in it and all these people were like, “Yeah, but if it was Leo and Brad it would be better.”

Well, nobody knew them back then.

But they were unwilling to step down from the roles, which was smart. They had to fight, apparently really hard. So that was the thing that saved them. And I was the guy who wanted to have them. The other people I think were just a little bit on the fence.

Did you ever see the off-Broadway play “Matt and Ben” where they’re played by two girls? The script for Good Will Hunting falls from the sky while they are writing a terrible science fiction story and they just put their names on it and pretend they wrote it.

No, but I remember reading it. It would be really cool to make a film of that. It was funny. That was in the ’90s, right?

The early 2000s. How would somebody go about landing a script on your desk these days?

It depends. It just depends on… I mean I lot of times they’re just friends of friends or people who get my email address from somebody or whatever. What, have you got a script for me?

Nope, not at all.

Too bad.

Source: The Talk

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Top 5 Takeaways From Tiger Woods’s Latest Press Conference




Tiger Woods met with the media Wednesday in front of the Farmers Insurance Open and gave a reasonable way to deal with his PGA Tour return. You can see his full question and answer session here.

Underneath, we trimmed it down. Here are the five most interesting statements from Woods’ Wednesday press conference:

  • On his expectations: “I think yeah, my expectations have tempered a little bit because I haven’t played. When I came back off my ACL injury in ’08 and started playing in ’09, it was nine months but I hadn’t played a full schedule prior to that. Here, I haven’t played a full schedule since 2015. It’s been a long time. To be honest with you, I just want to start playing on the Tour and getting into a rhythm of playing a schedule again. I haven’t done that in such a long time, so I don’t know what to expect. Just go out there and just play, I’m going to grind it, give it everything I possibly have if I put the ball in the right position and make some putts and try to work my way up the board.”
  • On how desperate his back woes were: “You know, I tried all different types of treatment on it and we went – I went through every single procedure that is nonsurgical prior to getting it fused. I exhausted every single procedure I could possibly do and it just didn’t get better. So the surgery and fusion was the only step I had left. I was very lucky because it’s down at L5-S1 and it only has maybe six degrees of rotation, so it’s really not much at all so I got lucky in that regard. It’s been tough. I didn’t know when the back was going to go out. I don’t know if you guys were watching this past week with Freddie, how bad it was. He was fine and all of a sudden he makes a couple bad swings and there it goes. That’s very similar to how I was.”
  • On getting his speed back: “I hadn’t felt good in four, five years. My surgeon, you know, he said from the get-go, once it’s fused, you’ll have – you’ll have speed like you did back in your early 30s. And he’s right because there’s no pain, I’m not flinching, it doesn’t hurt as I take the club back, it doesn’t hurt right before impact, it doesn’t hurt after impact, it doesn’t hurt when I walk. It was a tough go for a while and I don’t have any of those feelings.”
  • On why he’s going without a coach (for now): “I’ve said it many times already, it’s just that no one’s had a spinal fusion at that level and be able to hit the ball that hard, as hard as I do. So I’d like to meet somebody who can swing it over 120 miles an hour with a fused back. Do you know anybody? That’s what I mean, no one understands that. So I have to rely own my own feels and play around with what my body can and cannot do. It’s not going to look like it used to, I don’t have the mobility that I do – that I used to and that’s just the reality. Now it’s just a matter of what can I do, and that’s just practicing and getting my feels and trusting, experimenting a lot to try and figure out what can this body do and how explosive can it be and how am I going to control shots with different shapes, am I going to have different feels. Some of that stuff is yes, some of that stuff is different and I’m still learning it.”
  • On his plan early in the year: “I’m just trying to build towards April. That’s what I told you guys last year in the Bahamas, I’m looking forward to playing a full schedule and getting ready for the Masters and I haven’t done that in a very long time. That’s usually been my schedule and my outlook. From ’96 on it’s been that way to try to get ready for Augusta and there’s no reason to change that.”

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Top 5 Times Oprah Has Lost Her Cool On Her Talk Show




Here are the most effective crossroads in Oprah TV history when everyone’s eyes were on Oprah, and she lost her cool, cries on a show, lost her poise or even merely lost her brain, making all of us either cry or lowered that even Oprah is a slave to her feelings in some cases. Plan to go on the passionate, crazy ride that spread over a very long while with our dearest anchorperson. As we enter her last season, prepare for more Oprah crying minutes. Get ready to see her lose it all the more frequently as she directs some of her most enthusiastic Oprah interviews.

At the point when did Oprah cry on her show? There are a large number of illustrations when the normally quiet symbol loses her self-restraint, this rundown follows those minutes.

Oprah’s Heartthrob Surprise

Ranker Video

Since Oprah has, at last, consented to be the one on the less than the desired end of shocks for her final season, her staff pulled a startling get-together experience for The Big O and welcomed Jackie Jackson to come into her office and amazement her at her work area.

Oprah really liked Jackie and this date dash has been over 43 years really taking shape.

Jackie shocks O and realises her blossoms thirty seconds into the clasp.

Oprah hurls her arms and shouts as he embraces her. She shouts a few more circumstances and after that affectionately, tongue in cheek (obviously), undermines to gun down her snickering staff as she whines that she was not dressed for Jackie. Fantasy and a lousy dream across the board.

As the clasp proceeds with, Oprah ushers Jackie out of the room and begins an energised, scattered endeavour to settle her cosmetics and put eyelashes on and get ready for her fantasy date. “Thank god, Stedman’s in Bermuda.”

This clasp is a great deal of enjoyable to watch, and Oprah’s so endearingly found napping that it influences you to think to any significant amazement you’ve ever gotten in your life.

Oprah Talks About Her Best Friend in the World

Ranker Video

Oprah opens up to Barbara Walters about her association with Gayle King, her closest companion, and the lesbian gossipy tidbits that have surfaced irregularly consistently.

Around one moment into the clasp, Barbara requests that Oprah depict her intimate association with Gayle. Oprah takes over ten seconds to recover her poise and endeavour to answer the inquiry.

Oprah portrays Gayle as the mother she never had, the sister everyone would need, and the companion everyone merits. “I don’t have a clue about a superior individual.” She is exceptionally enthusiastic all through the clasp as she discusses Gayle.

This clasp is a capable demonstration of the actual truthfulness that has characterised Oprah’s vocation.

Oprah’s Tribute to Sophie, Her Faithful, Deceased Cocker Spaniel


Ranker Video

Oprah commits a show to her dearest cocker spaniel, Sophie, who she had for a long time and had as of late passed.

The Oprah Winfrey Show group set up an introduction together for Oprah about Sophie and her opportunity as a significant aspect of Oprah’s family.

Oprah tells us previously she has not seen the video and is watching it out of the blue.

The video starts around thirty-five seconds in and includes some excellent photographs and video film of a delightful dark cocker spaniel going through her days with O. It proceeds until the two-moment stamp. At the point when the clasp comes back to Oprah, she is in tears with a Kleenex. She says she knew viewing the video would be hard and battles to get past her guide as she wipes her eyes. O instantly enjoys a business reprieve to get it together and “get [her]self together.”

It is reviving to see this reliable, rousing lady demonstrate a weakness for losing a cherished pet. It proves to every one of us that it’s alright to feel like the organisation we keep, human and non-human, don’t need to be blood-identified with feel like the piece of our family.

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Top 10 Quotes By Leonardio DiCaprio




Dissimilar to numerous previous youngster on-screen characters who tend to bite the dust (or blur into obscurity) in their teenager years and past, 42-year-old Academy Award victor Leonardo DiCaprio has gloated an unfaltering resume of film hits for almost two decades, from his terrible hand over 1993’s What’s Eating Gilbert Grape? To a featuring part in film industry sensation Titanic.

Notwithstanding his fantastic movie profession, Leo has utilised his Hollywood capital in various generous endeavours. He’s wind up one of the world’s best environmental change champions and backers for more stringent confinements on carbon emanations each shot he gets.

Indeed, he gave particular specify to the earth in his Oscar acknowledgement discourse for his work in The Revenant, entreating the group of onlookers to “work on the whole together and quit tarrying” when managing environmental change. These qualities are reflected in his everyday life; he drives battery-fueled vehicles and lives in a sun-based controlled home.

The following are 10 of the most motivating Leonardo DiCaprio that ought to urge you to deal with what makes you cheerful.

“Be thankful for the hard times, for they have made you” – Leonardo DiCaprio

“It’s easy to fall into the trap of believing all the hype that’s written about you… Who knows? In a couple of years, you might find me in the loony bin!” – Leonardo DiCaprio

“If you can do what you do best and be happy, you’re further along in life than most people.” – Leonardo DiCaprio

“Pay close attention to people who don’t clap when you win.” – Leonardo DiCaprio

“To believe in love, to be ready to give up anything for it, to be willing to risk your life for it, is the ultimate tragedy.” – Leonardo DiCaprio

“A wrong connection will give you shock throughout your life, but the right one will light up your life.” – Leonardo DiCaprio

“Everybody has gone through something that has changed them in a way that they could never go back to the person they once were.” – Leonardo DiCaprio

“I just really love doing what I do. I know every career is fleeting and there will be time periods when I don’t get the opportunities that I’m getting right now, so I am taking advantage of them.” – Leonardo DiCaprio

“Only you and you alone can change your situation. Don’t blame it on anything or anyone.” – Leonardo DiCaprio

“I really am motivated by being able to work with great people and create a body of work that I can look back and be proud of.” – Leonardo DiCaprio

For more such inspiring quotes, subscribe to Talk Column today!

Disclaimer: All images are sourced from the web. No copyright infringement intended.

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