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I've always been attracted to temporary families.

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
Attracted
Temporary
Families
Always

More quotes by Gus Van Sant

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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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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'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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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.
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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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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.
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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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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.
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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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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 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 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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The dark comedies tend to be in a non-releasable area. There can be romantic comedies. There can be dramas. But there's no 'dark comedy' inbox for the advertising.
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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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My department is to get actors to do stuff.
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Everything's changing so fast that it's sometimes hard to keep up.
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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.
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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 mean, I think I'm pretty sentimental.
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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