If you don’t have the story and the unfolding of the trajectory of the saga, it’s like getting in a car and not having any gas.
GUS VAN SANTYou never look at the backside of a mirror because when you do, it’ll affect your future because you’re looking at yourself backwards. No, you’re looking at your inner self and you don’t recognize it because you’ve never seen it before.
More Gus Van Sant Quotes
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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.
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And Later I Thought, I Can’t Think How Anyone Can Become a Director Without Learning the Craft of Cinematography.
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I was once a shameless, full-time dope fiend.
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I’d come into filmmaking as a painter so, for me, making ‘Good Will Hunting’ was experimental because I didn’t know how to do it.
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When I grew up in the ’60s, we were actually dominated by this, you know, sort of conforming ’50s culture, even though we were like trying to express our own culture, like, the dominant culture was the thing that was forming us. And I think that that’s true today.
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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.
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I’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.
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Everything’s changing so fast that it’s sometimes hard to keep up.
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When you get to be 23, 24 or 25, you start to freeze up and become an adult.
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Modern-day cinema takes the form of a sermon. You don’t get to think, you only get to receive information.
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Free time keeps me going. It’s just something that’s always been a part of my life. I was originally a painter, and I made films sort of as an extension of that, and then I started to try to make dramatic films because the early films were experimental films.
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I used to take photographs just to remember people.
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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.
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The biopic also wasn’t a form that I necessarily believed in, because you can never really get it right, you know? It’s also a form that’s very popular – the straight-ahead biopic.
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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.
GUS VAN SANT