Bal Harbour

and then he starts describing the circum- stances of how it was taken, the anguish he felt as a photographer trying to decide whether or not to take the picture. It's 60 or 70 years at least after that day, but the emotion he expresses makes it clear that the moment has stayed with him ever since. It's a struggle that so many photographers face when witnessing something painful or difficult. Each one of us must decide in an instant, should I take this picture? Each experiences this in their own way—but this was the only time I've ever heard a photographer express it so clearly and honestly. He took the photograph of course, and it's both beautiful and tragic. It's one of the many moments in the making of the film where I found Paolo's honesty so striking—I'm forever grateful to him for that openness. of the North and Louisiana Story. After talking about their films all through dinner, they would jump back into editing them right afterward. They lived those films and it was always a family affair. Making The Treasure of his Youth felt like that: born out of discovery and trust with the help of many good friends. But this film began the same way each of my features has—by taking photographs. In this case, Paolo with his camera, together with his daughter Silvia, out on the street. The film has debuted at several festivals and the reviews have been very positive. What has that experience been like for you? It has been amazing. I have so much gratitude and thanks to my whole crew and all the people who spent many difficult hours working on this film.ˆ What have you been working on lately? I'm been working on a special exhibition that's opening at Isetan The Space in Tokyo at the end of February. And I've started working on a short film about a poet from Detroit and a young woman from Biarritz. We have no idea where it's going, and that's the fun of filmmaking. Your photography has helped to define an era and uplift an entire industry. What are some stand-out moments? When I photographed my mom and dad on the last vacation we took together. Meeting and photographing Nelson Mandela. And there's been a joyful moment every day for the past 50 years, photographing each of the wonderful dogs that Nan and I have had.ˆ What advice would you give your younger self, or photographers trying to get a start? Photography can be a somewhat technical pursuit, so people often ask me, "Should I get this fancy camera, or that fancy gadget?" I laugh and think, just be yourself. Try not to worry so much about getting the shot or setting things up so perfectly. Because then you'll have some peace of mind that will allow you to see new things coming your way and leave you open to interpreting them.ˆ Can you share anything about your daily routine and rituals? I usually jump out of bed no later than 7 to get our new puppies outside. They're named Lucky and Gordie (after Canadian ice hockey player Gordie Howe). Then I make breakfast for the whole pack. I'm the worst cook, but my dogs seem to like what I make for them. Then I'll sit with a cup of coffee and read about something that in no way relates to what I'm thinking about creatively. Sometimes I'll listen to music that's caught my ear—recently it's Gil Scott-Heron—and then it's time for me to start working again, which is always a thrill. Richard Burton and Elizabeth Taylor at Marina Cicogna's party, Venice 1967 TRY NOT TO WORRY SO MUCH A BOUT GETTI NG THE SHOT OR SETTI NG THI NGS U P SO PERFECTLY. —BRUCE WEBER You have directed six feature films—what was different about this one?• I have always been fond of reading about the pioneering documentarian Robert Flaherty, who worked closely with his wife, Frances, and his children on making films like Nanook Di Paolo, 94, with his Leica camera, photographed by Weber BAL HARBOUR 145

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