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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.

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
Think
Films
Thinking
Cases
Least
Quality
Film
Part
Made

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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 usually trying to react to what the actors are coming up with. And then the environment, and then the story.
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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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If Im diagnosed with cancer I might become despondent, but someone young might not, and they might need connections with somebody outside their circle of family because their family is so despondent.
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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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Even if you try to copy a film shot by shot, you still can't. It's still your own film.
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I used to take photographs just to remember people.
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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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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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I'm normally drawn to something I haven't done and seen before.
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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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And Later I Thought, I Can't Think How Anyone Can Become a Director Without Learning the Craft of Cinematography.
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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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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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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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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.
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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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Everything's changing so fast that it's sometimes hard to keep up.
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My department is to get actors to do stuff.
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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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