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And Later I Thought, I Can’t Think How Anyone Can Become a Director Without Learning the Craft of Cinematography.

Gus Van Sant

No construction stiff working overtime takes more stress and straining than we did just to stay high.
GUS VAN SANT

Addiction Construction Stress
Sometimes getting upset with yourself is necessary when you face the truth.
GUS VAN SANT

Faces Sometimes Upset
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 SANT

Character Cutting Needs
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.
GUS VAN SANT

Car Stories Unfolding
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.
GUS VAN SANT

People Real Trying
I used to take photographs just to remember people.
GUS VAN SANT

People Photograph Remember
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.
GUS VAN SANT

Character High School
Modern-day cinema takes the form of a sermon. You don’t get to think, you only get to receive information.
GUS VAN SANT

Cinema Information Thinking
When you get to be 23, 24 or 25, you start to freeze up and become an adult.
GUS VAN SANT

Adult Adults Freeze
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

Blow Experience Hunting Laughing Limited
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.
GUS VAN SANT

Thinking Trying Writing
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.
GUS VAN SANT

Afterlife Idea Ideas People
Everything’s changing so fast that it’s sometimes hard to keep up.
GUS VAN SANT

Hard Something Sometimes
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

Culture Thinking Trying
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

Different Filmmaking Really Weird
Casting the locals is my primary concern because all the other things you assume will be manageable.
GUS VAN SANT

Assuming Casting Concern

And Later I Thought, I Can’t Think How Anyone Can Become a Director Without Learning the Craft of Cinematography.

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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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