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.
GUS VAN SANTGay 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.
More Gus Van Sant Quotes
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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’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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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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Yeah, I try to be really calm.
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Free time keeps me going.
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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.
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I used to take photographs just to remember people.
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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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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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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.
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Sometimes getting upset with yourself is necessary when you face the truth.
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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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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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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.
GUS VAN SANT