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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
Sentimental
Pretty
Mean
Think
Thinking

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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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I'm normally drawn to something I haven't done and seen before.
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I knew about Heatmiser, and I saw them one time at Pine Street [later changed to La Luna], which was the center of a lot of alternative bands during the 80s. But I didn't really know too much about their music.
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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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For all the boredom the straight life brings, it's not too bad.
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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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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.
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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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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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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 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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If it were up to the executives, they probably wouldn't have directors at all.
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Wong Kar-Wai is a really great inspiration. He's always referred to as the Jimi Hendrix of filmmaking.
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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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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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I'm going in a really weird I-don't-know-where direction, but I prefer anything [different] from how standardized filmmaking has become.
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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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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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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.
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My department is to get actors to do stuff.
Gus Van Sant