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 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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It’s hard to speculate as a human about the afterlife because you’re not in it. And it’s probably as wild and wacky as you could imagine. The idea that people have figured it out, I’m not sure if I can fathom that.
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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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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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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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Even when you’re making a movie about life, death is a presence, and I guess it’s part of my dramatic viewpoint. I’m not sure why exactly.
GUS VAN SANT -
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.
GUS VAN SANT -
When you get to be 23, 24 or 25, you start to freeze up and become an adult.
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Now the music industry is sort of like a Craigslist venture, right? Where you’re making your own records and selling them online.
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I have this new theory about films. It’s almost like astrology, where if we started on a Tuesday the film will be different than if we started on a Wednesday. Not because of the planets. It’s that sometimes you start with the wrong balance and the whole thing gets messed up.
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I was once a shameless, full-time dope fiend.
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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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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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Everything’s changing so fast that it’s sometimes hard to keep up.
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I used to take photographs just to remember people.
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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.
GUS VAN SANT