If it were up to the executives, they probably wouldn’t have directors at all.
GUS VAN SANTI’ve always been interested in how to present something that relates to our reality – which is not really… I don’t even know if documentary itself does as good a job. It has its own problems in trying to get at the reality of the situation.
More Gus Van Sant Quotes
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One of the things that is devastating is I realise I haven’t been living a different life than when I was, like, 12. I’m shocked at how reclusive I’ve been since then. I was unaware of it until recently.
GUS VAN SANT -
A person’s sexuality is so much more than one word “gay.” No one refers to anyone as just “hetero” because that doesn’t say anything. Sexual identity is broader than a label.
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Apparently there’s this kind of songbird that thinks it dies every time the sun goes down. In the morning, when it wakes up, it’s totally shocked to still be alive—so it sings this really beautiful song.
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No construction stiff working overtime takes more stress and straining than we did just to stay high.
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And Later I Thought, I Can’t Think How Anyone Can Become a Director Without Learning the Craft of Cinematography.
GUS VAN SANT -
Joanna Priestley is one of the most interesting and adept personal animators and filmmakers. I have enjoyed her work for years and been amazed at how she gets into her own thoughts onto the screen in a very elegant and focused way. You have to see this.
GUS VAN SANT -
In rare cases, I’ve had music before I shot the movie. I think that for ‘Good Will Hunting’ I had an Elliot Smith record or a couple of them and I just somehow felt like the sound had something to it that reminded me of the story. So in that case there was music beforehand.
GUS VAN SANT -
The area of teenage life is not necessarily rarefied; we’ve all gone through that period. It’s not as rarefied as a western or a space adventure or a gangster film, but it has its own dynamic.
GUS VAN SANT -
I try to shoot the first rehearsal because people are more spontaneous. People in real life don’t really know where they are going to be either positioning themselves or how they will be saying their words. When people goof during the first take, it usually looks realistic.
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I’m going in a really weird I-don’t-know-where direction, but I prefer anything [different] from how standardized filmmaking has become.
GUS VAN SANT -
A lot of times, you’re not necessarily off the page because you haven’t been able to take the time to prepare a character. It’s very easy to find even great actors reading it more like a reading. Things aren’t really coming alive yet, even though you know they will.
GUS VAN SANT -
Once you’re directing, you’re kind of in a certain mode, where you’re taking whatever is on the page and forming it into the film that you think it might want to be. So whether it’s my writing or not, I still try to work with it in the same way.
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The things that inform student culture are created and controlled by the unseen culture, the sociological aspects of our climbing culture, our ‘me’ generation, our yuppie culture, our SUVs, or, you know, shopping culture, our war culture.
GUS VAN SANT -
I think over the course of 14 films, I’m returning to a place that I know to tell a story… the same way Spielberg returned to fantasy, Lucas returned to the ‘Star Wars’ saga, or John Ford returned to the western.
GUS VAN SANT -
You’re following your track, the story, your only plan, your map for the audience, and all the other stuff is, like, the fun stuff: the costumes, the locations, the set-dressing and the actors. They can all be variable as you like if you stick – however roughly – to the path.
GUS VAN SANT







