If it were up to the executives, they probably wouldn’t have directors at all.
GUS VAN SANTThe 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.
More Gus Van Sant Quotes
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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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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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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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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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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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Free time keeps me going.
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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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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.
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Yeah, I try to be really calm.
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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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No construction stiff working overtime takes more stress and straining than we did just to stay high.
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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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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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Casting the locals is my primary concern because all the other things you assume will be manageable.
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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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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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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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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.
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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 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.
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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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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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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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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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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