ACTOR & DIRECTOR

ANNIE LEIBOVITZ, 2009

I LIKE MILK

"I was graduating high school the year Harvey Milk was killed, so I was in California, and I was certainly aware of it — it was national news, anyway. I didn't know anything more than this openly gay politician was murdered alongside the mayor of San Francisco. I think it was only a month after the Peoples Temple [Jonestown mass murder] thing had happened, which was mostly San Francisco people, so it was kind of a crazy moment in Northern California (...)

The main problem was that normally, to tell a whole life in two hours, you want to get somebody more charismatic than the real person. And in this case, one could only aspire to that(...)

The joke was that my son's problem was seeing his father kiss [James] Franco, and my daughter's problem was seeing Franco kiss her father (...)

The only significant speculation [if Harvey Milk had lived] I make is if you look at the timing, what an incredibly powerful voice he would have been when the plague hit, which was a year after. You had an entire administration that never said the word "AIDS." He would have pushed that issue, and there would be people alive today that aren't. That seems a pretty safe bet."

(SEAN PENN)

PORTFOLIO

FOTOGRAFÍAS: GREG WILLIAMS

TAL COMO ERAMOS

PORTADA: MARK SELIGER, 1996

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PORTADA: SAM JONES, 2009

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MYSTIC RIVER

"Clint is a very unusual case. The only thing I learned from him was the value of a sense of calm and quiet on a set. How he makes a movie is a mystery to me (...)

I remember checking into a hotel in Boston to start on the very first day of shooting. Nine weeks later from that day, the entire movie was finished — including the score that he wrote and recorded! This year, two major pictures, and acting in one of them? I don't know how he does it (...)

He'll say: "You want to rehearse this scene?" So you get done with your first rehearsal, and he says: "I'm OK. Want to move on?". He's had the camera rolling — he shot it. I think the most takes I ever did on Clint's movie was three, and that was rare. A lot of one-takes."

(SEAN PENN)

EN PORTADA

SWEET & LOWDOWN

"He surprised me, because he had written a fairly

eccentric character, one that I had never done anything like. And he never asked me what I was going to do until the first day of shooting. If Woody didn't like something, he'd say: "You know what was wrong with that take, Sean? Everything."

Which was a kind of clarity that made things easy, because you didn't go and try to adjust what you did — you just changed it. I loved working with him."

(SEAN PENN)

DEMOCRACY

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RICHARD AVEDON, 2004