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Category: Good Reads

New Juergen Teller Interview

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BoF: Juergen Teller’s Renegade Eye



A seemingly random image surrounded by vast expanses of blank page is, of course, something of a Teller trademark, denoting, specifically, his 15-year run (1998 to 2013) shooting ad campaigns for Marc Jacobs. Teller talks fondly about working with Jacobs. “Just like with Helmut, Marc and I understood each other right away. We both had this total interest in culture and people, so we became friends.” In the early years, Teller says he worked for Jacobs for free. “But I wanted to do it, because it was very inspiring and super-exciting.” In exchange, however, he asked for complete creative control of the ads. "I said, if I am not getting paid, I am in control of how big the type is, the layout, if there's a frame around the picture, how many pictures are used and it will say ‘Claudia Schiffer’  — or whoever was featured — ‘photographed by Juergen Teller.’"

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The Marc Jacobs ads are also a good example of his favoured ways of working. While some of the images suggest that they were spur-of-the-moment shots, in fact, “everything is completely thought through and planned.” Each image is the result of communication. “The way you get to a good photograph is through conversation. There is always a serious discussion, of who would be a good subject or model, where we should we shoot. It's always a long dialogue. Well, sometimes it's quick and evident and sometimes it can drag itself out.”

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“It’s hard work. You need to be educated about photography and have a deep knowledge of the medium’s history, its whole spectrum. It’s a serious profession and a lot of education and craft is involved in creating work. Moreover, you can’t be afraid of not earning any money or of rejection. If you’re open and positive, fashion can give you extraordinary access and incredible opportunities, and allow you to meet the most amazing people. If you’re courageous, it will open doors and lead you to places and situations you couldn’t have dreamt of.”

The Mystery Of America’s Greatest Cocktail Bar

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Philly Mag: The Mystery of Lê From Hop Sing Laundromat


This much we know: Behind an unmarked door in Chinatown sits what may be America’s greatest cocktail bar, Hop Sing Laundromat. But the truth about the man who created it? That’s where things get trickier.

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Hop Sing is a phenomenon. A mystery bar with no sign, no phone. Just rules, and some of the greatest cocktails in the United States. And Lê? He built Hop Sing. Runs it. Which, alone, might be enough to make telling a story about him worthwhile, but the bar isn’t the end of him. And it’s certainly not the beginning.

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AdWeek:


Millennial Models Like Gigi Hadid, Fueled by Social, Are Hitting the Fashion Stratosphere Fans favor bold personalities, not just beauty

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It's that social media clout—not to mention the stunning face, killer body and irresistible personality—that has helped propel Hadid, seemingly overnight, from up-and-coming model to global fashion celebrity. And brands have taken notice. Over the past year, Hadid has scored big contracts with the likes of Tom Ford, Victoria's Secret Pink and Maybelline.

Along with contemporaries like Kendall Jenner, Karlie Kloss and Cara Delevingne, Hadid is part of a new wave of digitally savvy models taking the fashion industry by storm. Dubbed "the Instagirls" by Vogue, these millennial models have achieved success both in the realm of high fashion and the commercial world—a rarity since the supermodel era of the '90s. These days, some models are just as likely to be found on the Paris runways as in the pages of a celebrity weekly or Taylor Swift's latest Instagram post—or in Kloss' case, on the cover of Vogue with her good friend Swift.

On Mad Men, he will never see her again.

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Esquire: Matthew Weiner on Mad Men's Origins, Peggy's Baby, and Why There Will Never Be a Spinoff


Was there a struggle with how little Mad Men had to be "about," plot-wise? Much of today's television focuses on extraordinary people.

TV and film, in general… some of it is designed for escape, designed to satisfy the lack of justice that we feel in everyday life. We find heroes and we get to have the wish fulfillment of, for example, a woman who has it all, who talks tough and tells people where to go and, yeah, they fail sometimes. There's not a lot of that on the show. I give the example of how we try to make it less abstract by making it more like real life: If a young man runs into a beautiful woman at a party on Mad Men and she gives him her phone number and he writes it on a piece of paper and then he loses his coat, he will, on a normal TV show, end up figuring out how to find her. On Mad Men, he will never see her again.

Michael Keaton & The Making Of Birdman

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EW interviews Michael Keaton, and an inside look at the complexity of shooting the film:



Anything—a misremembered line, an extra step taken, a camera operator stumbling on a stair or veering off course or out of focus—could blow a take, rendering the first several minutes unusable even if they had been perfect. “Alejandro had given us all a picture from Man on Wire—the man walking on the tightrope between the [World Trade Center] towers,” says Stone. “It felt like that—like making a film and doing a play and doing a stunt all at the same time. He would shout at the monitor ‘No!’ or ‘Yes!’ and you didn’t stop until you heard that accent-tinged ‘Yes!’”



Also a piece by Variety, on how they shot the Time Square scene:



There were four takes, starting at 8:30 p.m. If the shot was too early, the lighting wouldn’t work; too late, the crowd would thin. Crew was kept to a minimum, to draw as little attention as possible. Keaton’s movements were accompanied by only four people: Lubezki [cinematographer]; the focus puller; the boom operator; and the digital imaging technician. Eight production assistants worked on crowd control. Inarritu was close by; for two of the four takes, he shot Keaton with his smartphone for footage used in a subsequent scene in which Emma Stone watches the incident on YouTube...

Steven Meisel Q&A

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The date on this interview is Jan 28, so somehow I missed it, but nonetheless a good one with the 60 year old Meisel. Above self portrait from 2014.

WSJ Magazine:



The prolific fashion lensman discusses his iconic images of supermodels Naomi Campbell, Linda Evangelista and Amber Valetta, timed to the opening of his exhibition ‘Role Play’ at Phillips in New York City

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Tim Blanks: Your selection of images for the Phillips show seems to be a concise career overview. Is that how you saw it?

Steven Meisel: It wasn’t just my decision. I would have pushed it further, to be honest. They had first given me a selection, then we went back and forth. It was a compromise.

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I would hope my sense of humor is obvious in everything. I don’t consider myself just a fashion photographer. It’s more than that. I’m also a very funny person, and I have a good sense of humor. And I hope people see that.

Mario Testino Being A Douchebag

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Dev Patel Speaking to The Guardian:


“I remember going to this one Burberry show, and it was exciting. They’ve always been very kind to me and, even as a gangly guy, I felt I was rocking their suits. So when I was invited to one of the fashion shows in London, I went. Even though I had this preconceived notion – ‘I’m not going to fit in with this crowd, it’s going to be intimidating’. I was sitting there, and this fellow says, ‘Are you the one dating Freida Pinto [his Slumdog co-star]?’ And I’m like, ‘Yeah, I guess.’” He gives an embarrassed shrug. “And then he says: ‘Why? How? Why is she dating you? She’s so beautiful.’ And I say, ‘Yeah. She is!’ And then he says: ‘But you’re so, ugh, so normal-looking.’” Patel looks upset even now. It turns out it was the photographer Mario Testino.

John Galliano: "I’ve never done this sober before"

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Vogue: John Galliano Reflects on His New Role Helming Maison Martin Margiela


Today, the designer is marveling in the world around him. “It’s great just being alive again,” he says, “and every experience is new.” He adds, in a confidential whisper, “I’ve never done this sober before. And I have to keep reminding myself that it’s actually quite normal. It’s actually quite nice, John.”

Joni Mitchell

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NY Magazine: Joni Mitchell, the Original Folk-Goddess Muse, in the Season Seemingly Inspired by Her



“Exactement,” says Joni Mitchell, happy that, after several hours of conversation and half a pack of cigarettes, I get it — at least this point anyway. “All my battles were with male egos,” she says. “I’m just looking for equality, not to dominate. But I want to be able to control my vision. There are those moments when I wax feminine and I get walked on.”

We’d been talking about record executives, and exes, and fussy by-the-book musicians who wouldn’t do what she wanted. “Basically, at this time, I’m trying to fix my legacy. It’s been butchered. It’s been panned, and scanned, and colorized.” To her several-million-strong crowd of fans, that might seem a strange notion. But exactly how she is celebrated is of special importance to her. To hear her tell it, most of her life has been spent in a state of revolt against other people’s nonsensical ideas about how she should think or dress, what she should believe, and how she should play music. She mentions the guy her record company sent not long ago — “the burglar,” she calls him — to root around her storage unit to cobble together a boxed set she calls a “turd,” which she eventually got killed. She started the process over herself, the result being the booklike package sitting on the table between us: four discs, 53 songs, a thematically and not chronologically arranged memoir in music and words, exactly four hours long, called Love Has Many Faces: A Quartet, a Ballet, Waiting to Be Danced. It would be one long dance.

Olivier Theyskens Update

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De Zeen Magazine: The fashion industry is "saturated" says Olivier Theyskens


What are you focusing on now that you've left Theory?

Olivier Theyskens: I only left Theory recently, in June. I committed to do a dress for one of my girl friends, she wanted the wedding dress of her dreams. I've been used to doing some of these kinds of dresses with ateliers that have whole crews that are able to work on it, but this time I thought I'm just going to do it. It's terrible but I worked for three months on that dress.