In Good Will Hunting (Miramax, 1997), the present watercolor—painted by the film's director, Gus Van Sant—was displayed in the office of Sean Maguire, played by Williams. When Will Hunting (Matt Damon) has his first therapy session with Sean, the characters' interactions come to centre on the painting. As Sean attempts to get to know Will, he asks if he likes art. "It's a real piece of shit," Will replies, spying the watercolor perched on the windowsill. "Uh, just the—the linear and impressionistic mix makes a very muddled composition. It's also a Winslow Homer rip-off, except you got Whitey uh...rowin' the boat there," Will observes. "Well, it's art, Monet...wasn't very good," Sean interjects. "That's not really what concerns me, though," Will continues. "It's the coloring." Sean, trying to conceal his increasing discomfort with humor responds: "You know what the real bitch of it is? It's paint by number." As it evolves, this is, arguably, one of the most significant scenes in the film. Beyond its immediate thematic importance, this painting introduces the subject of Winslow Homer, whose artwork significantly influenced the film's overall aesthetic.