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I mean, I think I'm pretty sentimental.

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
Thinking
Sentimental
Pretty
Mean
Think

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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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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.
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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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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.
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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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I've always been attracted to temporary families.
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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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Yeah, I try to be really calm.
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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.
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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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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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There is a common theme, though, in the stories I have told, which are usually associations of characters or families that are formed outside of a family circle.
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No construction stiff working overtime takes more stress and straining than we did just to stay high.
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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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My department is to get actors to do stuff.
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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 not being analytical. I just create everything intuitively. If you're too analytical, what you're doing probably ends up being too specific.
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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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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.
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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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