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When you get to be 23, 24 or 25, you start to freeze up and become an adult.

Gus Van Sant

You 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.
GUS VAN SANT

Looks Mirrors Self
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.
GUS VAN SANT

Blow Experience Hunting Laughing Limited
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

Amazed Interesting Way Years
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

Couple Hunting Thinking
Casting the locals is my primary concern because all the other things you assume will be manageable.
GUS VAN SANT

Assuming Casting Concern
When you get to be 23, 24 or 25, you start to freeze up and become an adult.
GUS VAN SANT

Adult Adults Freeze
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

Fun Stories Track
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.
GUS VAN SANT

Doubt Film Thinking
In high school, I read ‘Silas Marner’ and I was very attracted to this character – he was very rundown and he’d just stop, and things would happen around him.
GUS VAN SANT

Character High School
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

Actors Movie Viewpoints
And Later I Thought, I Can’t Think How Anyone Can Become a Director Without Learning the Craft of Cinematography.
GUS VAN SANT

Inspiring Movie Thinking
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.
GUS VAN SANT

Character Cutting Needs
If it were up to the executives, they probably wouldn’t have directors at all.
GUS VAN SANT

Directors Executives Probably
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

Different Filmmaking Really Weird
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.
GUS VAN SANT

Feelings People Real
Sometimes getting upset with yourself is necessary when you face the truth.
GUS VAN SANT

Faces Sometimes Upset

When you get to be 23, 24 or 25, you start to freeze up and become an adult.

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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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