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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.

Gus Van Sant

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Gus Van Sant
Age: 72
Born: 1952
Born: July 24
Actor
Director
Film Director
Film Editor
Film Producer
Musician
Photographer
Screenwriter
Louisville
Kentucky
Gus Greene Van Sant Junior
Adventure
Rarefied
Western
Gangster
Areas
Gangsters
Periods
Dynamic
Gone
Teenage
Space
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Film
Necessarily
Life
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More quotes by Gus Van Sant

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I'm usually trying to react to what the actors are coming up with. And then the environment, and then the story.
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For all the boredom the straight life brings, it's not too bad.
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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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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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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.
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I have my ideas of what a good documentary is, but drama is a different animal because you're arranging everything.
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A lot of times, you're not necessarily off the page because you haven't been able to take the time to prepare a character. It's very easy to find even great actors reading it more like a reading. Things aren't really coming alive yet, even though you know they will.
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Well, I want to do everything in sort of a documentary style, ever since I started in the '80s.
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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.
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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.
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I'm normally drawn to something I haven't done and seen before.
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Narcotics have been systematically scapegoated and demonized. The idea that anyone can use drugs and escape a horrible fate is ananathema to these idiots. I predict that in the near future, right wingers will use drug hysteria as a pretext to set up an international police apparatus.
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Usually when I read something, first of all I'm looking for the story and then when I reread it, I'm sort of checking every part of it to see if every scene is necessary.
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I'm thinking of remaking 'Psycho' again. Doing a third remake. The idea this time is to really change it - we're talking about doing a punk rocker setting.
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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.
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I think that in some cases, I've made films that have a sentimental quality, at least as part of the film.
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I 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.
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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.
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Everything's changing so fast that it's sometimes hard to keep up.
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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