"There are two ways to be cool: One is to be disinterested and make it seem like you must be doing something much more interesting than everybody else if you are this disinterested. The other is to be extremely interested. You are not trying to please anyone, but you are really invested are really focused."
Maggie Gyllenhaal made her debut in her father’s Stephen Gyllenhaal film Waterland(1992) and emerged as a full-blown star in Secretary (2002). Her sweet looks and conduct result in a subtle on-screen style that emerges from the character she plays, whether the part is large or small. A graduate of Columbia University, Gyllenhaal resides in New York City. She earned her BA in English, which gave her theater experience during college in addition to her literary point. In addition, she studied briefly at the Royal Academy of Dramatic Arts in London. Her stage experience led her to acting after graduation.
Kactiklari satolardan cikamiyorlarmis. Gelip de kapilarini caldigim zaman,kucuk ve yalniz hissetmisler kendilerini, herseyin dokulerek cogaldigi bir zamanda olusumuza ragmen. Bana diger bir soylenen de kurguladiklari oldu. Bir dolu hayal urunu sey gosterip beni bi solene davet ettiler. Persembe aksamlarinin meshur o uzun aksam yemeklerini, kullandiklari malzemeleri,yemeklerin kokusunu ve hic kullanilmamis kadehlerini ovup susabildiler sonunda. Beni kendilerine baglamak icin ellerinden geleni yapiyormus gibi gorunseler de aslinda beni uzaklastirmakti butun emelleri,bunlari cok gec farkettim.Bir bidon benzinle herseyi yaktim.Yanarak cogaldiklarina inaniyorum sanirim.
BLK DNM’s Magazine Commits Wes Anderson, Peter Lindbergh and More to Paper
Known for his achingly hip take on urban sartorial, BLK DNM designer Johan Lindeberg has turned his attention to editorial pursuits with the new poster-sized BLK DNM Gazette, crammed with artwork, collaborative essays and interviews. “The magazine should be a cultural forum of inspiration to manifest the BLK DNM aesthetic,” says Lindeberg. With stylist Aleksandra Woroniecka as editor-in-chief, the debut issue features photography by Peter Lindbergh and Horst Diekgerdes as well as contributions from model Hannelore Knuts, jewelry designer Waris Ahluwalia, and artists Terence Koh and Scott Campbell, plus illustrated portraits of the roster of contributors by Nate Lowman. A limited-edition run of 10,000 copies will be distributed with online orders and available on a “pay what you want” basis at the New York–based brand’s temporary shop in SoHo, POP 1, with proceeds donated to Free Arts NYC. Below, we excerpt a conversation between director and sartorial iconWes Anderson and Hampton Fancher, actor and screenwriter of cult classic Blade Runner.
Hampton Fancher: There’s a question that I never asked you before… Do you feel loved by me?
Wes Anderson: Yes.
HF: Because if you don’t…
WA: I do!
HF: You actually feel loved by me?!
WA: I do, yes…
HF: You’re right!
WA: Do you feel loved by me?
HF: Not like you might feel loved by me…
HF: But that’s my problem, you know. I might feel less worthy of being loved—not that you feel worthy of anyone’s love and not that I emote love better than you do, so you can receive it better than I do.
WA: That’s how you felt over the years… Did you notice that I’ve always reached out to you or wanted to be connected to you?
HF: I don’t know… I love that you like me.
WA: Now that’s been a long time.
HF: Well, I met you before The Minus Man [Fancher’s 1999 directorial debut]. You had already finished Bottle Rocket, you were probably finishing Rushmore when I met you, right? I think I met you through Owen [Wilson], right?
WA: So it was like ’96, let’s say…that’s 15 years ago!
HF: Yes. I didn’t know you. They sent me Bottle Rocket.
WA: After you saw the movie, that’s when you were interested in Owen for The Minus Man?
HF: I was not interested in Owen. I never wanted him in The Minus Man. I told him when he came to meet me in New York.
WA: I remember. He said that he had met you. He told me, “I had this meeting with this very interesting guy—you would like him, real odd. I might meet him again at some point.” When did you decide that you wanted him?
HF: I liked him, but I wanted an actor who was better at acting than I was at directing. You know… someone who would blow me away. And I knew he hadn’t had a career, stage-wise. I liked him, though—we hung out and drank a bottle of wine. I didn’t know until later that he wasn’t drinking at that point. He wanted the part bad enough to have a glass of wine. His agent called saying, “I know you are testing,” but I said, “every day is taken,” and he said, “when is the last day?” I said “Friday,” and he said, “could he come in at the end of the day and you just test him?” That was a favor… And he came in.
WA: And you thought, “Oh, this is the guy I should have”? I remember the way you described his face, you said, “I like this creamy shit.”
HF: I wanted to shoot him close up to get that texture, but I didn’t manage to get it… I just had some French dream about his skin…
WA: Well, you know, often there’s something that you have in mind, that you specifically want to get, and then you don’t feel you got it. But then when people see the movie, they always take it all a different way, and the thing you think you didn’t get is the thing they did get. Everybody has got their own private reaction.
HF: That’s the amazing thing about movies because they’re dreams, and you’re telling somebody about a dream… You tell me a fucking dream right now and I tell you what it means and it won’t be what you think it means, you know?