And Later I Thought, I Can’t Think How Anyone Can Become a Director Without Learning the Craft of Cinematography.
GUS VAN SANTI was once a shameless, full-time dope fiend.
More Gus Van Sant Quotes
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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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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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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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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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If it were up to the executives, they probably wouldn’t have directors at all.
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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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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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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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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 was once a shameless, full-time dope fiend.
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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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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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No construction stiff working overtime takes more stress and straining than we did just to stay high.
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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.
GUS VAN SANT