#gus powell

[thephotoregistry]

Gus Powell

[thingstol00kat]

Gus Powell — the Company of Strangers

[papierscolles]

Installation view of From the Collection. 1960–1969.  New York. The Museum of Modern Art. Photo. Gus Powell.

[sheltiechicago]

People Dangle from Balconies and Scale a Brick Facade in Leandro Erlich’s Disorienting Installation - Bâtiment series

“The Building” (2023).

You don’t need nine lives to scale the side of this vertigo-inducing structure. The latest installation in Leandro Erlich’s Bâtiment series appears to defy gravity with a disorienting facade-turned-optical illusion.

All photos by Gus Powell, courtesy of Liberty Science Center

[jazzplusplus]

1959 - Essener Jazz Tage - Grugahalle in Essen (Deutschland / Allemagne / Germany)

Buck Clayton, Bud Powell, Ed Thigpen, Ella Fitzgerald, Gus Johnson, Herb Ellis, Kenny Clarke, Lou Levy, Lucky Thompson, Oscar Peterson, Oscar Pettiford, Ray Brown, Roy Eldridge, Stan Getz, Thelonious Monk, Martial Solal, Albert Mangelsdorff, ...

[matto77]

Family car trouble - Gus Powel 2019

Family Car Trouble è la terza monografia di Gus Powell ed è una narrazione intima della propria famiglia. Protagoniste sono la moglie, le due figlie (che crescono con il procedere delle pagine) e il padre malato. Una storia privata in cui fa regolarmente incursione una vecchia Volvo station wagon chiamata Jimmy, costantemente in panne.

Il libro si presenta sotto le mentite spoglie di un romanzo, con tanto di raccomandazioni per la lettura e biografia dell’autore sui risvolti di copertina. E’ curato in ogni dettaglio: sulla sovraccoperta troviamo una ricevuta del meccanico, mentre la copertina riproduce gli interni dell’auto. L’edizione speciale è accompagnata dall’impronta delle (vere!) vecchie gomme di Jimmy e il video promozionale è il rifacimento di una vecchia pubblicità giapponese della Volvo.

Fin dalle prime pagine è chiaro che Family Car Trouble non è un libro a lieto fine, ma la morte è inserita in un contesto di quotidianità familiare che ha i suoi momenti luminosi e semplici.

Quante sfumature emozionali esistono nel microcosmo familiare? Gus Powell le mostra tutte onestamente, candenzate dall’irrompere di Jimmy (in panne), filo rosso narrativo e portavoce dell’identità di street photographer di Powell, nonché alter ego dell’autore e della sua ostinazione a tenerla in vita riparandola costantemente.

Lui non si affaccia mai nel libro (si intravede solo in una fotografia, abbracciato alla figlia), ma è sempre presente, voce narrante della vita che accade. L’amore e la cura verso uno dei membri della famiglia e verso l’auto diventano un viaggio viscerale in dinamiche in cui tutti ci riconosciamo, ma che non sempre siamo in grado di guardare con dolcezza.

Per dirla con le parole dell’autore: Lottiamo con le cose che possiamo controllare e con quelle che non possiamo in alcun modo governare… alla fine, come si dice, la vita va avanti.

[nine-aetharia]

OPEN CALLS FOR SUBMISSIONS

HELLO WRITEBLR. HERE IS A SMALL LIST OF MAGAZINES / ANTHOLOGIES OPEN FOR SUBMISSIONS.

Legend:

PAYING - pay for accepted stories

NON-PAYING - currently not a paying market

CATEGORY - may be fiction, nonfiction, reviews, art, etc

GENRE - genres accepted

WORDCOUNT - wc limit

These have a deadline for their submission calls, so this post may not always be useful, but perhaps you can use it to keep an eye on these presses!

INKEDINGRAY

DEADLINE: MARCH 30, 2024

THEMED SUBMISSION: AFFECTION

PAYING | FICTION | ADULT OR YA SCI-FI OR FANTASY | UP TO 8K WORDS

FUSION FRAGMENT

DEADLINE: NOT STATED

PAYING | FICTION | SCI-FI, FANTASY | 2K - 15K

FLAME TREE PRESS

DEADLINE: APRIL 7, 2024

THEMED SUBMISSION: SUN RISING

PAYING | FICTION | SCI-FI, FANTASY, FOLKLORE, AND MYTH | 2K - 4K WORDS

FLAME TREE PRESS

DEADLINE: APRIL 7, 2024

THEMED SUBMISSION: MOON FALLING

PAYING | FICTION | SCI-FI, FANTASY, FOLKLORE, AND MYTH | 2K - 4K WORDS

FLASH FICTION ONLINE

DEADLINE: APRIL 22, 2024

THEMED SUBMISSION: WEIRD HORROR

PAYING | FICTION | HORROR | 500 - 1000 WORDS

There are a couple more litmags / presses open for submissions, but this seems like a good place to start with posting these (I'm currently building a spreadsheet because I just realized I have too many bookmarks lmao). You don't need prior experience of submitting stories for publication, you just need a submission-ready story. If anyone needs a template for the cover letter, I can post the one I've been using (thankfully short story letters aren't as mindmelting to craft as full manuscript query letters lmao so don't be intimidated!).

[filmaticbby]

Aries: Tarantino, F. F. Coppola, Andrea Arnold, Eric Rohmer, Edgar Wright, Ruben Östlund, Josh Safdie, David Lean, Andrei Tarkovsky, Michael Haneke, Martin McDonagh

Taurus: Wes Anderson, Orson Welles, Sofia Coppola, Lars von Trier, Terry Zwigoff, George Lucas, Robert Zemeckis, John Waters, Frank Capra

Gemini: Fassbinder, Hideaki Anno, Makhmalbaf, Agnès Varda, Alex Garland, Clint Eastwood, Yorgos Lanthimos, Aaron Sorkin, Ken Loach, Alexander Sokurov, Giuseppe Tornatore

Cancer: Abbas Kiarostami, Wong Kar-wai, P. T. Anderson, Mike White, Ari Aster, Ingmar Bergman, Krzysztof Kieślowski, Paul Verhoeven, Robert Eggers, Béla Tarr, Mel Brooks, Ken Russell, Sidney Lumet, Kinji Fukasaku

Leo: Alfred Hitchcock, Greta Gerwig, Alain Robbe-grillet, Kubrick, Wes Craven, Taika Waititi, Luca Guadagnino, Christopher Nolan, Polanski, Sam Mendes, Richard Linklater, Nicolas Roeg, James Cameron, Pablo Larraín, M. Night Shyamalan, Iñárritu, Gus Van Sant, Peter Weir, Wim Wenders, Maurice Pialat

Virgo: Tom Ford, Joe Wright, Paul Feig, Dario Argento, David Fincher, Brian De Palma, Baz Luhrmann, Tim Burton, Friedkin, Takashe Miike, Noah Baumbach, Werner Herzog, Elia Kazan, E. Coen

Libra: Julie Dash, Almodóvar, Jacques Tati, Ang Lee, Michelangelo Antonioni, Ti West, Walerian Borowczyk, Nicolas Winding Refn, Satoshi Kon, Kenneth Lonergan, Michael Powell, Jacques Tati, Steve McQueen, Denis Villeneuve

Scorpio: Mike Nichols, Barry Jenkins, Charlie Kaufman, Céline Sciamma, Tsai Ming-liang, Jean Rollin, Scorsese, Louis Malle, Luchino Visconti, François Ozon, Julia Ducournau

Sagittarius: Sion Sono, Cassavetes, Raj Kapoor, Steven Spielberg, Eliza Hittman, Terrence Malick, Ozu, Alfonso Cuarón, Gregg Araki, Larry Charles, Judd Apatow, Kathryn Bigelow, Lenny Abrahamson, J. Coen, Jean Luc Godard, Diane Kurys, Ridley Scott, Lynne Ramsay, Woody Allen, Fritz Lang

Capricorn: Larry Clark, David Lynch, Harmony Korine, Damien Chazelle, David Lowery, Mary Harron, Sergio Leone, Todd Haynes, Pedro Costa, Gaspar, Noe, Fellini, Joseph Losey, Miyazaki, John Carpenter, Steven Soderbergh, Michael Curtiz, John Singleton, Vertov

Aquarius: Jim Jarmusch, John Hughes, Darren Aronofsky, Jodorowski, Michael Mann, Derek Cianfrance, Alex Payne, Truffau, Eisenstein, Tone Hooper

Pisces: Pasolini, Sean Baker, Paul Schrader, Bernardo Bertolucci, Benny Safdie, Jacques Rivette, Bunuel, Luc Besson, David Cronenberg, Spike Lee, Rob Reiner, Mike Mills, Sebastián Lelio, Jordan Peele, Ron Howard, Robert Altman

[foundfamilyappreciation]

Hello and welcome to the second Found Family Face-off! This time it's siblings! As mentioned in the intro post, this is for siblings of different genders, as there will future tournaments for brothers and sisters respectively to give as many found siblings as possible to be included! Anyway, please meet your contestants and round 1 match ups below:

*Please don't clown on this post and argue against why certain characters can't be found siblings (aside from if they're in an explicitly canon romantic relationship that I missed while trying to vet them). Please respect that these are people's headcanons and they might not align with yours (heck, some of these even I don't agree with but again, that's just my opinion) and that this is just for fun etc.

Group A

Ahsoka Tano & Rex VS Ahsoka Tano & Anakin Skywalker (Star Wars)

Garrazeb Orrelios, Sabine Wren & Ezra Bridger VS Cassian Andor, Jyn Erso & Bodhi Rook (Star Wars)

Kilindi Matako & Maul VS Cal Kestis & Merrin (Star Wars)

Michael Burnham & Saru (Star Trek: Discovery) VS Mako Mori & Raleigh Beckett (Pacific Rim)

Tegan Jovanka & Vislor Turlough VS 10th Doctor & Donna Noble (Doctor Who)

Luke Smith & Sky Smith VS Luke Smith & Maria Jackson (The Sarah Jane Adventures)

Aidan Waite, Josh Levison & Sally Malik (Being Human U.S.) VS Steve Jinks & Claudia Donovan (Warehouse 13)

Amanda Brotzman & Vogel (Dirk Gently's Holistic Detective Agency) VS Wednesday Addams & Eugene Ottinger (Wednesday)

Group B

Parker & Eliot Spencer (Leverage) VS Inej Ghafa & Jesper Fahey (Six of Crows/Shadow and Bone)

Duke Thomas & Cassandra Cain (DC Comics) VS Will Byers & Jane "El" Hopper (Stranger Things)

Angus MacGyver, Wilt Bozer, Riley Davis & Sam Cage (MacGyver 2016) VS Josh Lyman, Toby Ziegler, CJ Cregg, Sam Seaborn & Charlie Young (The West Wing)

Malcolm Bright, J.T. Tarmell & Dani Powell (Prodigal Son) VS Kate Beckett, Javier Esposito & Kevin Ryan (Castle)

Jake Peralta + Rosa Diaz (Brooklyn Nine-Nine) VS Meredith Grey + Alex Karev (Grey's Anatomy)

Fig Faeth, Adaine Abernant, Fabian Aramais Seacaster, Gorgug Thistlespring, Riz Gukgak & Kristen Applebees (Dimension 20: Fantasy High) VS Travis Killian & The Doctor (The Game of Rassilon)

Meriadoc Brandybuck & Eowyn (The Lord of the Rings) VS Lester Papadopoulos & Meg McCaffrey (Trials of Apollo)

Alanna of Trebond, Gareth of Naxen & Raoul of Goldenlake (Song of the Lioness) VS Keladry of Mindelan, Neal of Queenscove (Protector of the Small) VS Sandry fa Toren, Tris Chandler, Daja Kisubo & Briar Moss (Circle of Magic)

Group C

Katara & Zuko VS Toph & Zuko (Avatar: The Last Airbender)

Sokka & Toph VS Aang & Toph (Avatar: The Last Airbender)

Korra & the Air kids (The Legend of Korra) VS April O'Neil + the Ninja Turtles (Rise of the Teenage Mutant Ninja Turtles)

Sprig Plantar & Anne Boonchuy (Amphibia) VS Hiccup Haddock & Heather (How to Train Your Dragon: Race to the Edge)

Luz Noceda & Hunter VS Luz Noceda & Gus Porter & Willow Park (The Owl House)

Luz Noceda & King Clawthorne (The Owl House) VS Rayla & Ezran (The Dragon Prince)

Lilo Pelekai & Stitch (Lilo and Stitch) VS Luca Paguro, Giulia Marcovaldo & Alberto Scorfano (Luca)

Hisirdoux "Douxie" Casperan & Claire Nuñez VS Hisirdoux "Douxie" Casperan & Nari (Tales of Arcadia)

Group D

Roronoa Zoro & Nami VS Roronoa Zoro & Perona (One Piece)

Kyōka Izumi & Atsushi Nakajima (Bungo Stray Dogs) VS Phoenix Wright & Maya Fey (Ace Attorney)

Miles Edgeworth & Franziska Von Karma VS Miles Edgeworth & Kay Faraday (Ace Attorney)

Sento Kiryu & Misora Isurugi (Kamen Rider Build) VS Mikasa Ackermann and Armin Arlett (Attack on Titan)

Shadow the Hedgehog & Maria Robotnik (Sonic the Hedgehog) VS Lucas, Kumatora & Duster (MOTHER 3)

Junpei Iori & Female protagonist/Kotone Shiomi (Persona 3) VS Ren Amamiya/Akira Kurusu & Futaba Sakura (Persona 5)

Sombra & Cassidy VS Baptist & Sombra (Overwatch)

Beauregard Lionett & Fjord VS Beauregard Lionett & Caleb Widogast (Critical Role)

Also! To help me out and get the brackets done and published sooner, here's a list of contestants that I haven't found picture for and would super appreciate help in tracking them down. Massive shout out to those who sent in pics with their submissions, yall are MVPs.

(Need the ones that aren't highlighted)

Feel free to submit them via ask, submission or by reblogging and adding them to this post. Thanks in advance!

[losnoventa90]

In My Own Private Idaho, River Phoenix and Keanu Reeves portray a pair of teenage prostitutes, each more victim than vulture. Phoenix is a narcoleptic, Mike, who dozes off at dangerously inopportune moments as he searches endlessly for his long-lost mother; Reeves is a blue-blooded runaway, Scott, who turns tricks as an act of rebellion against his father. “Idaho is the story of a rich boy who falls of the hill and a kid on the street,” says writer-director, Gus Van Sant. “I saw a bit of the hill in Keanu’s personality and a bit of the street in River’s. They played out those extensions of themselves.”

Reeves is the first to arrive for dinner at Suite 55 in the Chateau Marmont on Sunset Boulevard. He looks a bit dazed from a run-in with the paparazzi at a Hollywood screening. “I just stopped on my bike to ask the guard, like, what movie was playing,” he says. “And suddenly all of the guys around me are yelling ‘Keanu, look up!'” Did he? “No way, man. I beat it out of there. It was weird.” He grins, and then offers to grate some Parmesan cheese for the pasta, first asking what side of the grater to use. Soon Phoenix shows up. Immediately, he’s at Reeves’s side in the kitchen, peeling garlic. Within minutes, though, the two escape to the balcony. Phoenix lights up a Camel. He cocks an eyebrow: “Doesn’t figure, huh?” Then he exhales. “I know. I should quit.”

Suddenly he and Reeves are off, excitedly exploring the possibility of doing Shakespeare together. They stand nose to nose—Phoenix newly bleached blond as part of his bid to play the young Andy Warhol in a future Van Sant biopic, Reeves dark-haired and tanned—like positive and negative images of each other. They sustain their banter throughout the meal, as one interrupts the other, but only to complete his thought.

GINI SIKES: Keanu, you’ve said you accepted a part in Idaho first, hoping River would do the film too.

KEANU REEVES: No. We were always together.

RIVER PHOENIX: He was lying. We were doing I Love You to Death, and we both got the Idaho script. We were driving in a car on Santa Monica Boulevard, probably on the way to a club, and were talking really fast about the whole idea. We were excited. It could have been like a bad dream—a dream that never follows through because no one commits, but we just forced ourselves into it. We said “OK, I’ll do it if you do it. I won’t do it if you don’t.” We shook hands. That was it.

PAIGE POWELL: River, what were the challenges you face from portraying a character who suffers from narcolepsy? When I first saw your narcoleptic attacks on film, for one tenth of a second they could have been perceived as comic. Then they seemed painful. It’s clear that they come out of nowhere. How’d you know to do that?

PHOENIX: Mainly from Gus’ descriptions of what Jake would do. Jake was a narcoleptic in Portland who worked with me. I spent a lot of time talking to him about why narcolepsy happens. I understood it completely from the medical and scientific standpoint, though they don’t know exactly what it is. But when I was with Jake he never had a narcoleptic attack in front of me. After I’d done a few of the fits, Gus said they were exactly the way Jake had them.

REEVES: Do you think this film will cause narcolepsy? I mean, should parents watch out for their children?

PHOENIX: I would definitely stress that viewers should be very aware of the catching nature of narcolepsy.

REEVES: Should viewers wear special glasses?

PHOENIX: It’s like the eclipse. If you look at it too long, you might get it.

POWELL: While we’re on the subject of research, did the two of you hang out with the street kids in Portland?

PHOENIX: Totally.

REEVES: Yeah, a little bit.

SIKES: Were there ever times that you felt that asking street hustlers for information was somehow exploiting them?

PHOENIX: I think they were flattered that their story would be told.

REEVES: No, man. I don’t feel that this story is a contemporary tale of the street. It’s not current in the places or language. The only way this story is contemporary is in a larger sense, in its emotions and perhaps what goes on inside of some people…

POWELL: Aren’t emotions timeless?

REEVES: Exactly. But I’m talking about how they’re manifested in language, or, you know, in anything that people are doing. I’m just saying this film is not representative of the street scene in Portland.

PHOENIX: That’s very true. If a kid from Portland saw this movie, he wouldn’t think it was Portland street life. But it’s our responsibility to go as deep as we can and to explore all the directions that might even be suggested in a script. Just so we have all the bases covered. Our research was extracurricular, it wasn’t necessarily needed. SIKES: Describe how you went about researching the lifestyle of street hustlers.

PHOENIX: I entered it through friends of Gus’ who were already on the street, Scott and Gary. Gary died in a car wreck recently, from what I heard; God bless his soul. Being anonymous also helped us, I think.

SIKES: They had no idea you two were actors researching a role?

PHOENIX: No, no. It was all in character. We were just hangin’. If anything, they thought, This is another cat who’s trying to take my spot on the street. There was maybe a little curiosity, but never any animosity or jealousy. Because it’s a brotherhood on the street, man. You all watch for each other’s backs. Because no one wants to see anyone get stabbed.

SIKES: So nothing was set up?

PHOENIX: Some street kids came over to Gus’ house, and we met different people at different places. It was staged, in that sense. But the actual street stuff was just us, working on our own time. Like guerrillas [laughs]. It was very sensational for us. I though our main problem was to find out if we could be the real guys. Gus’ choice was to use real street guys or us, so Keanu and I felt a great burden. We wanted to believe in this script and work out the problems.

SIKES: Both of you are very popular among adolescents. In particular, teenagers seem to relate to you, Keanu, because of your Bill and Ted persona. Was there any concern in your camp, say from your agent or manager, that playing a male prostitute would hurt your “image”?

REEVES: Hurt my image? Who am I—a politician? [laughs softly] No. I’m an actor. That wasn’t a problem. But shooting was a very intense experience. I had just finished Point Break and was still into my character. I felt a bit of anxiety about Idaho. I was overwhelmed at what I had to do—it was like, Oh, no! Can I do this? I was afraid. But Gus and River made me fit in. Said, Let’s do one bitchin’ movie. I don’t know about you, River, man—but I was introduced to so many elements through the guy I was playing. Real people. My imagination. Gus’ interpretation. Shakespeare. It was rich! And it was just bottomless, man. You could go as far as you could go, you know?

SIKES: I remember reading an interview with Robert Downey Jr. after Less Than Zero, where he said he was afraid people would harass him because of his character. Has anyone reacted strongly to your rules?

PHOENIX. Fuck them. That’s all I can say. A big capital F, a U-C-K, and THEM. T-H-E-M.

REEVES: Get a clue, man.

SIKES: So you haven’t had any negative—

REEVES: No. I get negative shit all the time. I don’t care.

PHOENIX: Do you think anyone would have taken this script ten years ago?

REEVES: Porno stars, maybe. Like maybe one of Warhol’s crowd.

PHOENIX: Joe Dallesandro?

REEVES: Possibly one of those cats. SIKES: One of your co-stars is a Warhol actor—Udo Kier, from Dracula and Frankenstein. Which brings me to a prurient question…

REEVES: It’s your job!

SIKES: How comfortable were you guys filming your three-way sex scene with Udo?

PHOENIX: Well, I really didn’t help matters. While we were doing our scene I said, “Just think, Keanu. Five hundred million of your fans will be watching this one day.” Like a stupid idiot. I made him feel completely self-conscious. But Keanu rose above it. Gus scolded me endlessly the night after.

REEVES: Did he really?

PHOENIX: Yeah. He scolded the shit out of me. I almost cried. That was terrible of me. I was just trying to break the ice. You know, I thought it was humorous—I was trying to save Keanu from being freeze-framed by twelve-year-olds at home!

REEVES: Thanks, brother.

PHOENIX: Later on, Keanu was filmed naked with the beautiful Chiara [Caselli, who plays Scott’s Italian girlfriend, Carmella]. That scene was really a drag. He was having a great time with this girl, but it was freezing cold and they were dying. So I think they were more worried about the temperature than the nudity. That took five hours.

SIKES: The scene with Udo must have been easier simply because you two were already good friends. How did you meet?

PHOENIX: Actually, I met Keanu through my ex-girlfriend Martha [Plimpton] while they were doing Parenthood—they were sucking face regularly. My brother, Joaquin [Phoenix], otherwise known as Leaf, was also in it. So, Leaf and Martha were his buddies before I was even a friend of his. Then I met up with him on I Love You to Death. And I liked the guy. I wanted to work with him. He’s like my older brother. But shorter.

POWELL: Keanu, Scott is a rich kid who wallows in the gutters to rebel against his father, who’s the mayor of Portland. Gus based Scott on Prince Hal in Shakespeare’s Henry IV plays…

REEVES: Yeah, but in the Shakespeare world, Prince Hal turned out to be a good king. To avoid eternal strife he gets into these wars. All the dukes and lords were pretty happy because men were going off to die for a noble cause and people were being fed. But in Idaho, Scott is not connected to the people. He’s got his own agenda. He just dogs everybody and goes his own way. So he doesn’t have, like, the noble aspect. In the end, his father was perhaps very compassionate and concerned. Perhaps that’s what makes it a modern tale.

SIKES: Were you concerned at all that Mike speaks in street vernacular throughout the film, whereas Scott goes in and out of Shakespearean verse? Did you think your switch in speech might seem jarring, Keanu?

REEVES: The Shakespeare stuff was an aspect of the script. Gus said it was something to do and think about it. So that was my game. I wasn’t worried. It just seemed challenging and interesting to me.

PHOENIX: I was afraid of it not working.

REEVES: For me?

PHOENIX: No, for the entire film. I felt we needed to be very clear on how we set up the transition scenes between the mock Shakespeare stuff and the docu-drama stuff. There needed to be stepping stones to those scenes—so it wouldn’t be like jumping from black to white to Technicolor. It was important to organize our thoughts and to support Gus stylistically.

REEVES: I wasn’t aware of all the different styles going on in the film initially, though. You were looking through the camera a lot more than me.

POWELL: The thing I like so much about Gus and his work is his compassion. Mala Noche just ripped my heart out. In My Own Private Idaho, he’s dealing with the search from home and family. Was that theme important to you in deciding to do this film?

REEVES: Oh, not for me.

PHOENIX: I have really strong feelings about the search for home and mother. I thought it was very, very touching. You just knew that someone who could come up with this premise would have something to back it with in terms of knowledge and experience. Which Gus has.

POWELL: What was it like working with Gus as a person—living in his house, on location, and so on?

PHOENIX: Gus just has those qualities that we all need to get back. Open eyes, open ears, a kid’s stream of consciousness. You know, the things kids do—like putting their fingers up strange pipings in the house or acting all soft because they’ve screwed up and Mom’s mad at them. That’s Gus. Just being a kid. He was very collaborative, completely wide open. It was like a family operation—co-op style.

SIKES: How did you two manage on the set?

PHOENIX: Every morning, Matt [Ebert, production assistant] woke us up by singing show tunes. He’d drag us by our ears down the van.

REEVES: No, man. I was always there, prompt and ready.

PHOENIX: But he had to drag me by the ear down to the van. I’m very stubborn about getting up in the morning.

REEVES: Yeah, man. But I knew that Matt would grab me by the ear, too, so I’d just hang out.

PHOENIX: Yeah, Keanu would wait downstairs with his script in hand, ready to get I the van, and I would be upstairs fumbling for my clothes, although I usually sleep with my clothes on. POWELL: Gus was pretty spontaneous about what scenes you shot each day, wasn’t he?

PHOENIX: I have no clue. I don’t know what he fuckin’ decided to shoot what or where or when or why, man.

POWELL: Well, when you woke up in the morning didn’t you know what scene you were going to shoot?

REEVES: Generally, yeah. I’m sure that was other people telling Gus, “You need to know what you’re going to do tomorrow.” I don’t know if that was necessarily his personal impetus, but I think the machine was asking him what we were going to do so that we could be ready.

POWELL: The movie starts in Portland, moves to Idaho, then to Italy. While filming sequentially, did anything develop that you couldn’t have anticipated at the beginning?

PHOENIX: The campfire scene was definitely a combination of Keanu and me working together off-set, fucking around with improv, talking about our characters. Getting deeper into it, we discovered a lot about our relationship within the film, and by the time we were ready to shoot the last scene in the States, we had enough insight to go a hell of a lot deeper than the script every told us it would.

SIKES: That’s the scene where Mike tells Scott that he loves him.

PHOENIX: There was a lot of deep love [in the film]. You don’t know until you see the dailies whether it comes across or not. But because we shot in sequence, we were watching the film unfold before us, and when that scene cam around we could just, like, ad-lib it.

POWELL: That campfire scene is very similar to the one you did in Stand by Me—

PHOENIX: The confession scene. It’s also similar to a scene in Running on Empty. Gus did see both movies, so maybe he sampled them. POWELL: When I visited the set in Italy, I noticed that you were both always really sweet. You’d have gone without sleep and be really tired; yet you were always considerate to the hotel clerks, limo drivers. Everyone.

PHOENIX: Oh, yeah. We’re great guys. We are really wonderful people. I think Keanu and I are the nicest guys on the planet—with the exception of George Bush and Ronald Reagan.

REEVES: They are the sweetest guys. They’re good to their clan. We should say thank you now that we have the opportunity. “Thanks, guys!”

PHOENIX: [laughs] I’m sorry. You gave us a compliment.

POWELL: O.K. But it’s true—you did seem to demonstrate a genuine consideration for anyone you worked with on the set.

PHOENIX: But, seriously, we know what it’s like to be on the bottom. The Lord Jesus Christ has given us a chance to be on top. So we’re not going to abuse it. We’re going to be very thankful for it and gracious about the luck that we had in our positions. We’re very lucky young men. We do what we want, we get to be creative and make money.

REEVES: Right on, brother. Right on.

SIKES: So what else are you guys doing now?

PHOENIX: I want to buy a 16mm camera. I’m not committed to the idea of being a filmmaker, but I’d like to try some shorts. I really like documentaries. And I want to drive through the mountains where I used to live when I was doing this TV series [Seven Brides for Seven Brothers] when I was twelve. I’m going with my girlfriend.

REEVES: Every moment is precious. I’m trying to travel. I want to go to Paris. It’s probably just a pipe dream. I’d like to read some books. Take some voice lessons.

SIKES: To do more Shakespeare, perhaps?

REEVES: Um, who knows? I really would like to do Shakespeare with River. I think we’d have a hoot. We could do A Midsummer Night’s Dream or Romeo and Juliet.

PHOENIX: I’ll be Juliet.

---------------------------------------------------------------------

Released to promote the Gus Van Sant movie 'My Own Private Idaho', this issue of Warhol's Interview magazine includes an interview with Keanu Reeves and the late iconic actor River Phoenix.

The interview was held at the Chateau Marmont in Los Angeles over a dinner shared by the pair, discussing things such as their position and influence on the world, and their daily routines.

The accompanying images are a thing of beauty - shot by renowned photographer Bruce Weber around the hotel with friends, capturing the pair fully in their prime.

[kitc0nn0r]

Isaac Cole Powell, Charles Melton, Gus Kenworthy

Fuck Gus

Marry Charles

Kill Isaac

Send me three guys for fuck marry kill

[goddesspharo]

favorite scenes? almost famous, top gun: maverick, cinderella (1950), practical magic

ask me my favorite movie moments!

Always with the difficult choices, E!

Almost Famous: This is a near perfect movie for me so I really want to say that almost every scene is great, but if I had to narrow it down, it would be a toss up between:

The band (and band-aids) singing "Tiny Dancer" on the bus.

"I am a golden God!" which is still the first thing I think about every time I see Billy Crudup in anything.

Lester Bangs' speech to William about how they're uncool but "the only true currency in this bankrupt world is what you share with someone else when you're uncool." PSH had only a few scenes in this movie and every single one of them was magical.

Top Gun: Maverick

I still don't understand what dogfight football actually is, but I do know that those beautiful himbos running around in jorts lives in my head rent-free. Glen Powell was right - montages are forever. I'm only bummed they didn't ask me to oil them down.

The intro to the Dagger Squad at The Hard Deck in the beginning of the movie. First of all, everyone was extremely hot and looking like they wanted to make out with each other in all different permutations, thus inspiring a billion and one fics in my head. On a not shallow level though, it was a very clever way of introducing the characters to us without an exposition dump while teasing how they all knew each other with enough ambiguity that you could fill in the blanks of their backgrounds in your head.

Cinderella (1950)

There is no movie that I watched more on VHS as a kid, but the most memorable scene for me will always be Gus Gus getting into a fight with the chickens over the corn kernels so Cinderella shoos them away and gives him his own corn only to have Gus Gus try to stack them all up, oblivious to Lucifer about to snatch him until Jaq drops a broomstick on Lucifer's head.

Practical Magic: Another movie (and book) (and soundtrack) that I adore too much to have any perspective on. I can narrow it down to:

Kylie's "Mom, I'm worried about Antonia. Did you know that she put on her mouse ears and drives around town, all liquored up, NAKED?!?!"

Midnight margaritas!!!! They all actually got drunk during that scene off cheap tequila that Nicole Kidman brought to set.

When Gillian is dying in the circle and Sally reaches out to tell her that they're supposed to grow old together. I cry EVERY TIME I watch the "your blood, my blood, our blood" scene.

[sheltiechicago]

Past, Present, and Future Converge in Dustin Yellin’s 10,000-Pound Glass Sculpture at the Liberty Science Center

“The Politics of Eternity.”

All images © Dustin Yellin. Photos by Gus Powell and Martyna Sczezesna

[likecometsx]

┘gu won&dani *☄; closed starter // @wvsteria

"detective powell," gu won said with a nod as he took the stool next to her at the bar. they'd shared a few words in the same spot a few times before. gu won frequented the bar after particularly tough work days, and every once in a while found it in him to socialize. "is the city giving you some peace these days? or are on some undercover surveillance now?"

[youllalwaysbemyporcelain]

Here’s a starter call for the event. You can either reply to this call with who you want a starter for or like this and I’ll message you on discord for plotting!

A Xiang: (Chengling)

Aang:

Addison Wells: (Zed)

Amity Blight: (Catra)

Apollo: (Dewey, Dizzy, Diana)

Auden West:

Belphie: (Beel)

BEN: (Audrey)

Bloo Regard Q. Kazoo:

Bram Greenfeld:

CJ Hook: (Josie)

Danny Fenton: (Sella, Wen Ning)

Dart:

Diana Holland: (Anya)

Dobby: (Rikki)

Doom: (Dani Powell, Mimmi)

Drogon: (Zuko)

Esme Cullen: (Kate)

Eurydice:

Faith Newman:

Go Yoo Han:

Gu Soo Oh: (Beel)

Jack Skellington: (Misa, Richie, Sally)

Jeon Seol:

Jo Taeseong:

Kieran Hunter:

Lee Yeon: 

Louie Duck: (Chengling, Dewey)

Max Lightwood: (Gregory)

Miguel Rivera:

Pb: 

Pyyrha Alexandra: (Dewey)

Rory Williams:

Rubeus Hagrid: (Prince Justin)

Sam Maek Jong: 

Sprig Plantar: (Noah)

Stitch Pelekai: (Marlene, Fliss)

Tadashi Hamada: (Gogo, Emily Fields, Light)

Tommy Pickles: (Kevin, Lil)

Twelfth Doctor: (River, Eleven)

Tylor Tuskman:

Uma: (Chad, Evie, Mal)

Voldemort: (Dorcas, Fliss, Ginny, Emmeline)

Wu Si Qi: (Nam Ra)

Yeo Wool: (Han Seong)

Zhou Zishu: 

[thecorsetcollection]

criterion collection

#2 Seven Samurai dir. Akira Kurosawa #6 Beauty and the Beast dir. Jean Cocteau #10 Walkabout dir. Nicholas Roeg #17 Salo or the 120 Days of Sodom dir. Pier Paolo Pasolini #29 Picnic at Hanging Rock dir. Peter Weir #31 Great Expectations dir. David Lean #34 Andrei Rublev dir. Andrei Tarkovsky #51 Brazil dir. Terry Gilliam #62 The Passion of Joan of Arc dir. Carl Th. Dreyer #78 The Bank Dick dir. W.C. Fields #90 Kwaidan dir. Masaki Kobayashi #102 The Discreet Charm of the Bourgeoisie dir. Luis Bunuel #105 Spartacus dir. Stanley Kubrick #134 Haxan dir. Benjamin Christensen #157 The Royal Tenenbaums dir. Wes Anderson #164 Solaris dir. Andrei Tarkovsky #165 Man Bites Dog dir. Remy Belvaux, Andre Bonzel, & Benoit Poelvoorde #175 Fear and Loathing in Las Vegas dir. Terry Gilliam #182 Straw Dogs dir. Sam Peckinpah #200 The Honeymoon Killers dir. Leonard Kastle #226 Onibaba dir. Kaneto Shindo #259 Fat Girl dir. Catherine Breillat #260 Eyes Without a Face dir. Georges Franju #277 My Own Private Idaho dir. Gus Van Sant #300 The Life Aquatic with Steve Zissou dir. Wes Anderson #332 Viridiana dir. Luis Bunuel #335 Elevator to the Gallows dir. Louis Malle #389 WR: Mysteries of the Organism dir. Dusan Makavajev #390 Sweet Movie dir. Dusan Makavajev #476 The Curious Case of Benjamin Button dir. David Fincher #483 Repulsion dir. Roman Polanski #539 House dir. Nobuhiko Obayashi #540 The Darjeeling Limited dir. Wes Anderson #542 Antichrist dir. Lars Von Trier #631 Trilogy of Life dir. Pier Paolo Pasolini - #632 The Decameron - #633 The Canterbury Tales - #634 Arabian Nights #635 Weekend dir. Jean-Luc Godard #711 A Hard Day's Night dir. Richard Lester #725 Eraserhead dir. David Lynch #779 Mullholland Dr. dir. David Lynch #790 Lady Snowblood dir. Toshiya Fujita #791 Lady Snowblood: Love Song of Vengeance dir. Toshiya Fujita #812 The Player dir. Robert Altman #888 Stalker dir. Andrei Tarkovsky #894 The Piano Teacher dir. Michael Haneke #898 Twin Peaks: Fire Walk With Me dir. David Lynch #975 Funny Games dir. Michael Haneke #1000 Godzilla: The Showa-Era Films, 1954-1975 #1013 Teorema dir. Pier Paolo Pasolini #1051 The Elephant Man dir. David Lynch #1084 Mirror dir. Andrei Tarkovsky #1131 Pink Flamingos dir. John Waters miscellaneous: Ingmar Bergman's Cinema The Life and Death of Colonel Blimp dir. Michael Powell & Emeric Pressburger