No construction stiff working overtime takes more stress and straining than we did just to stay high.
GUS VAN SANTA 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.
More Gus Van Sant Quotes
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Free time keeps me going.
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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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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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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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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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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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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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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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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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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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And Later I Thought, I Can’t Think How Anyone Can Become a Director Without Learning the Craft of Cinematography.
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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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Yeah, I try to be really calm.
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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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I’m going in a really weird I-don’t-know-where direction, but I prefer anything [different] from how standardized filmmaking has become.
GUS VAN SANT