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 SANTI 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.
More Gus Van Sant Quotes
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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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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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If it were up to the executives, they probably wouldn’t have directors at all.
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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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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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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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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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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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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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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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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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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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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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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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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.
GUS VAN SANT