This book is a fabulous collection of portraits. On one page will be a picture of a famous actor, such as Matt Dillon, and on the very next will be a homeless teen from Portland, OR. All of these were personally taken by Van Sant, and give us a glimpse into what goes on in his mind. He deserves recognition as not only a great director, but as a superb photographer as well.

When pals Matt Damon and Ben Affleck wrote Good Will Hunting, they had little idea the film would even get made, let alone that they would take home the Oscar for Best Original Screenplay for their work. Directed by Gus Van Sant and starring Robin Williams, this is a story about meeting one's potential.

Will Hunting is a genius. But he also has to sort a few things out about his life, and how he relates to others, before he can truly challange himself. When he meets therapist Sean MaGuire, Will begins to explore those issues, holding him back from having a good life. Who knew that two "pretty boy" actors from tintsletown could write something so deep? The script took everyone by surprise, with it's look at flawed, human characters in a very realistic way. Most films made today have at least one "perfect" sounding charater. Here, all of the characters have both strengths and weaknesses. These are just working class folks trying to get by. Damon and Affleck's humble Boston beginnings serve the script and the film very well.

Director Van Sant provides an introduction that talks about the history of this well written screenplay and the final film. The story is written in typical script fashion, complete with limited stage direction, and setting descriptions. The book is illustrated with dozens of black and white photos from the film. The 178 page book is recommended and should be on any person's bookshelf

Good Will Hunting is not only the best screenplay of the year, it is one of the best in the last ten years. Most movies these days are not worth the price of admission. So I see them when they come to a discount theatre. Even cheap night at the video stores yields nothing but a bunch of meaningless stories which do nothing more than shock your retina with fast paced images. I stare vacantly at the screen, unmoved, uninvolved. Damon and Afleck have written a brilliant story which does what most working screenwriters only wish they could do. I cared about the characters and I was concerned about the outcome. I was rooting for them, hoping that goodness and happiness would come their way.

It is entertaining throughout. And yes it made me shed tears. Twice! The scenes are peppered with short speeches that are so natural and realistic that you will be tempted to think that it must have been easy to write this stuff. No wisecracking James Bond here, folks. Meaningfull and realistic dialogue. The writers took a chance that there is an audience out there for a well crafted and moving story. This is a story. Did you get that? I said, "a STORY!". I'm not talking about a plot that unfolds like three acts all tied up into a neat little package, like butter on your popcorn. This isn't just devices and tricks. It is a story! You will remember the dialogue because you have heard it before. In real life. People actually talk this way regardless of the Bostonian accents. And where did they get this mathematical information. I don't know, it's either made up or well researched.

It doesn't get any better than this, folks. If you have a heart, it will be cracked when you listen to what these characters have to say to each other. Yeah, you will care. Check it out. You'll actually give a damn, Scarlett.

Having read all the reviews and endless adulation for this film, it's easy to see why the screenplay for Good Will Hunting snatched up an Oscar last year for Best Original Screenplay. Damon and Affleck have crafted an intelligent story that speaks volumes of humanity in the dialogue and character relationships. Characters are three-dimensional, flawed and compelling, forcing the audience to actually CARE what happens to them.

The major strength of the script is the finely-crafted monologues that Damon and Affleck give their characters: i.e. Shawn's speech to Will in Boston park is simply beautifal. Then there's Will's speech to the NSA agents which combines humour and observation in one neat little package.

The actor's performances stem from the sheer amount of subtext handed to them by Damon and Affleck in their script. Primarily, Will's path goes from frightened loud-mouth to assured and confident young man through his counseling sessions with Sean. These scenes are a joy to read as Will and Sean draw closer together by burying to the root of Will's struggle and for Sean to overcome past tragedies. Robin Williams at first seems like an odd choice for the role of Sean, but, for anyone who's seen DEAD POET'S SOCIETY will understand, approaches his role with vigour, inflecting Sean with wisdom, quiet solidarity and subtly conveys Sean's pain and anguish from a life of struggle.

Also, Affleck gets a great speech near the end of the story when Chuckie tells Will to accept his gift and to follow his heart and to stop denying himself in the eyes of others, because he has something that not many people have.

The script is also laced with some wonderful photographs from the film, which chart the progress of the story in pictures, and also includes a superb introduction from the film's director Gus Van Sant. The story is warm, deeply emotional and human, containing brilliant flashes of wit, pathos, observation and self-doubt, and I have no doubt that from this, Damon and Affleck will continue to rise and rise. Good Will Hunting reminds us that movies don't have to be about exploding asteroids, sinking ships or gratuitous car chases, they can be about the explorarion of the human condition, where the guay gets the girl and has all the answers.

This is a fascinating book about one of the best (relatively)young directors working. As usual, Mr. Parish has done his homework. The background material is great and helps give a really vivid picture of the person. I really feel I got to know Mr. Van Sandt from reading this book, not only him, but his family and associates growing up. The descriptions of his early works are especially interesting. Mr. Parish is one of the most thorough writers when it comes to work credits of his subjects. I also enjoy this section of his books. I definitely recommend this book.

Parish does it again.
I've been a big fan of Jim Parish's cinematic oeuvre of literature for 20 years. He has tackled film genres, biographies and anything with his name on it I will buy. His "Van Sant" bio is terrific and covers a career that hasn't had much coverage to date.
If you can find Mr. Parish's incredible "The Swashbucklers" you have a great weekend read in store. After 100 books, you would think Parish would be tired but his two recent works proves he is as fresh as ever and on the top of his game.

James Robert Parish is one of the most prolific and knowledgeable film historians and writers around today, and his book on Van Sant lives up to his high standards of writing and research. Van Sant is an interesting character, going from art house (Mala Noche) to mainstream favorites (Good Will Hunting). This is definately a must-read for anyone who wants to know more about Van Sant and the movie making business of today.

After reading this story you either like Walt Curtis or you don't. Walt, a gay man, runs a grocery store in Portland, where he has contact with poor Latino teenagers. His relationship first with Johnny and then Raul, are on the borderline of obsession, if not true obsession. The whole book centers around Walt trying to gain their love and having sexual relations with these young men. At times it's hard to take. You hear yourself asking, "doesn't he had any other interest in life" other than these boys.

Although this is a taboo subject matter, Walt is a gifted writer who speaks very honestly and from the heart. It's a fascinating story of skid row life in Portland, Oregon. Its easy to get lost in these characters lives. You'll be anxious to read the book right through to the end. Its gets my recommendation for these reasons.

Walt Curtis turns 'gay writing' on its head with this sexual raid upon the senses. This poetic tome leaves the reader wondering if Curtis is mad, gifted or damned. Rare insight into the imaginative genius of cult literature's pagan god

I'll admit it:

I bought this book because I liked the cover.

It has a matte finish, and I love books like that. It usually signals that there is something important inside. And with this being written by Director, Gus Van Sant, I thought that my suspicions might be confirmed. After all, the blurbs on the back described "Pink" as being like the works of Vonnegut. Enough said! Vonnegut is one of my heroes, and since I've read everything he's written, I figured an author *like* him would be suitable for the time being.

Oh, how misled I was!

"Pink" is a jumbled, nearly indecipherable mess of a novel. It is littered with characters about whom we give not a damn. There are scenes that take place in Orlando, FL, where I lived for a few years. It is apparent that Van Sant knows nothing about the area -- talking about highways, for example, that simply do not exist. How hard would it have been to take a look at a map? This is just one way that his lazy, thoughtless writing is evidenced. It makes "Pink" look suspiciously like a first draft -- written once, never to be checked for such details, or larger things, like, say, plot or character.

There are clever allusions to dead rock stars and dead actors, like that is supposed to somehow make the novel thought-provoking. "Hey, isn't that River Phoenix? And didn't Van Sant do a movie with him?" Yeah, and who cares? There are footnotes, which, I guess, are meant to be clever. They are not. This is not to say that they can't be. Dave Barry knows how to use footnotes. "House of Leaves" uses footnotes to excellent effect. These are just a waste of time.

Much like the entire book, as a matter of fact.

Perhaps the only good thing about it is the flipbook cartoon, which may indicate that Van Sant should really stick with moving pictures and abandon the literary ones.

Not recommended. At all. Ever.

Though I appreciated and respect that Van Sant tried to create something different here, that alone was not enough. The central problem with the book is that the story line is far too weak. Some of my favorite authors also use a style that jumps around a bit and slowly pieces together a story (e.g., Vonnegut, Dunn, Robbins), yet Pink fails where these authors succeed. Initially, I found the book fun to read because of the varying style, fonts, perspectives, etc., yet quickly became bored with it as I searched in vain for an interesting story line that could be construed as gripping. Nothing of the sort presented itself. If an experimental and loose writing style alone does it for you, than this is a good book to read. If you desire content that will captivate you and sustain your interest, look elsewhere.

"Pink" by Gus Van Sant is one of the most beautiful novels I have ever read. Not only is it emotionally captivating, you feel as if you are sitting down across from the narrator in the Kitchen of his home as he explains the events that happen. Mr. Van Sant captures the heart and soul of his characters, and you feel the story as if you are seeing it for yourself. As a literary peice, Gus Van Sant breaks new ground, not only by his multi-media approach, but by his re-inventing of literary techniques of the past. When I first found this book in my college bookstore, I wasn't sure what to expect. After I started reading it, I could not put it down! I re-read it three times right after I finished it. It is still one of my prized possessions some years later. The only thing bad I have to say is that I think it is horrible that it is out of print! That it is not readily available for others to experiance it is very regretful. I hope one day to meet this great author and shake his hand and thank him for one of the most wonderful, fulfilling works I have had the privilige to read.

This volume, suitable only for serious Gus Van Sant fans, contains the original script text for the disasterous movie of the fine Tom Robbins novel. The script adaptation drags and completly loses the counterculture spirit of the novel. Unless you are a film student, skip this and read the novel while listening to k.d. lang's excellent film score.