Now the music industry is sort of like a Craigslist venture, right? Where you’re making your own records and selling them online.
GUS VAN SANTFree 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.
More Gus Van Sant Quotes
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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’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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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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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.
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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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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.
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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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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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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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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 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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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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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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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.
GUS VAN SANT






