Gay marriage is the last bastion of, to me… as a legal, ceremonial, sentimental and religious side, it’s one of the last steps. Retaining your job being one of the earlier steps, like, not getting kicked out of your job because you’re gay.
GUS VAN SANTAnd Later I Thought, I Can’t Think How Anyone Can Become a Director Without Learning the Craft of Cinematography.
More Gus Van Sant Quotes
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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.
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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.
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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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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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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.
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I was once a shameless, full-time dope fiend.
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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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If it were up to the executives, they probably wouldn’t have directors at all.
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With ‘Good Will Hunting,’ Miramax made certain the recruited audience wasn’t expecting to laugh at Robin Williams like they normally do. From my limited experience, you can really blow test screenings by conducting them in the wrong way.
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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’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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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.
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Silent is about needing to make a scene shorter by having physical things to cut to. That way, you can manipulate a character to the other side of the room. But, if they say the wrong thing, it might locate that action in a particular part of the scene. It’s a mechanical need.
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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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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