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 SANTIn 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.
More Gus Van Sant Quotes
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I was once a shameless, full-time dope fiend.
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I used to take photographs just to remember people.
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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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Everything’s changing so fast that it’s sometimes hard to keep up.
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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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When you get to be 23, 24 or 25, you start to freeze up and become an adult.
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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’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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If it were up to the executives, they probably wouldn’t have directors at all.
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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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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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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 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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No construction stiff working overtime takes more stress and straining than we did just to stay high.
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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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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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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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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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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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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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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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Gay 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.
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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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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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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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