And Later I Thought, I Can’t Think How Anyone Can Become a Director Without Learning the Craft of Cinematography.
GUS VAN SANTI’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.
More Gus Van Sant Quotes
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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.
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Free time keeps me going.
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If it were up to the executives, they probably wouldn’t have directors at all.
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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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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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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.
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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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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.
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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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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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Everything’s changing so fast that it’s sometimes hard to keep up.
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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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I used to take photographs just to remember people.
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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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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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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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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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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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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 you’re on a film and you’re doubting something, it’s usually because you don’t think the audience is going to like it.
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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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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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Sometimes getting upset with yourself is necessary when you face the truth.
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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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I’ve told people who have just started to make a film that the one thing you might experience is this feeling that everybody is conspiring against you, because you’re not necessarily able to tell what’s real and what’s not.
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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.
GUS VAN SANT