And Later I Thought, I Can't Think How Anyone Can Become a Director Without Learning the Craft of Cinematography.— Gus Van Sant
The most terrific Gus Van Sant quotes that will add value to your life
My art teacher in junior high was a very out gay man and a mentor to me.
He would tell us about Greenwich Village and show us the 'Village Voice' and describe his life, but it was all sort of subversive and below the radar.
The reason I know about 'Tomb Raider' is from when I was researching 'Elephant.
' It was 1999, and I was trying to research the Columbine-massacre kids, and they had played video games, and I, at the time, had never really seen one. It was a world I didn't know.
I was once a shameless, full-time dope fiend.
For all the boredom the straight life brings, it's not too bad.
My art teacher in junior high was a very out gay man and a mentor to me.
Now the music industry is sort of like a Craigslist venture, right? Where you're making your own records and selling them online.
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.
The rules of suspense are that you do know, and you just don't know when.
In the Hitchcock rules of suspense, you are supposed to know that there is a bomb on the bus that might blow up, and then it becomes very tense - but if you don't know that there's a bomb and it just blows up, then it's just a surprise.
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.
Modern-day cinema takes the form of a sermon.
You don't get to think, you only get to receive information.
Sometimes getting upset with yourself is necessary when you face the truth.
I have my ideas of what a good documentary is, but drama is a different animal because you're arranging everything.
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.
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.
There's a lot of films that have relatively rigid road maps because they have a script and others that are less rigid because they have less of a script, like 'Elephant.' The road map becomes more interpretive, maybe, than one with a detailed script. Editing-wise, they all have their problems.
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.
Upon entering my vein, the drug would start a warm edge that would surge along until the brain consumed it in a gentle explosion.It began in the back of the neck and rose rapidly until I felt such pleasure that the world sympathizing took on a soft, lofty appeal.
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.
Because I didn't have brothers, I was always interested in the kids down the street that had four brothers in their family, so I became one of them - but it was not my family. I've always been attracted to temporary families. They tend to be lost characters.
Well, I want to do everything in sort of a documentary style, ever since I started in the '80s.
As I do with most films, I try and find some music that you could use throughout, not just a sampling of lots of different artists.
Casting the locals is my primary concern because all the other things you assume will be manageable.
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.
The artist himself is actually the subject in everything after, say, 1900.
Eventually, art becomes so removed from the community that you have to know about the artist before you can even look at the painting, because there is a conceptual idea going on.
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.
Yeah, I try to be really calm.
I find it interesting, the different rules that apply to journalism and drama, even though journalism has become more and more about entertainment, and entertainment has become more and more about journalism.
I'm normally drawn to something I haven't done and seen before.
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.
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.
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.
It's easy to keep score at a football game because it's just how many times you get the ball over the goal. But, when you ask an audience to tell us how many times the invisible ball got over the invisible goal, and they go, "Well, it was 46," they're just making it up. So, if you're listening to that, as though you're actually listening to the score of a football game, you're misleading yourself.
I'm going in a really weird I-don't-know-where direction, but I prefer anything [different] from how standardized filmmaking has become.
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.
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.
Yeah, Kubrick's a big influence. In something like 'A Clockwork Orange,' he is trying to use the practical light - I mean, at least he says that in his interviews, like they're not using traditionally Hollywood lights. In 'Elephant' we basically used no lights; we never really adjusted.
I don't think American independent films have ever really been particularly experimental, except for the original guys from the '60s who were huge influences, like Stan Brakhage, Robert Breer, and Stan van der Beek. They were the true independents.
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.
I'm usually trying to react to what the actors are coming up with.
And then the environment, and then the story.
When you get to be 23, 24 or 25, you start to freeze up and become an adult.
When I was 14, I felt very rundown; I had a home to go to, but I felt like I was 60 or something, older than I feel now. And I don't know if it's something that happens at 14, or whether it was adolescence or whether I was gay, or closeted gay, or whatever it was, I felt that.
If a movie isn't released, it's one thing, but if you know it will be, it's nice to have closure and see it come out.
Sometimes, the people who are helping you can drop the ball.
I had wanted to do a comedy.
Digital information, for every type of storage, is unfounded.
If everything is on a hard drive and the hard drive freezes up, your whole photography collection could just go away. We can still look at printed photographs of our grandparents. We can physically hold them in our hands and look at it.
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.
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.
You're following your track, the story, your only plan, your map for the audience, and all the other stuff is, like, the fun stuff: the costumes, the locations, the set-dressing and the actors. They can all be variable as you like if you stick - however roughly - to the path.
There is a way that a younger person can accept the inevitable problem that they're going to die, whereas somebody a little bit older might be overcome.