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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.

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
Talking
Remake
Idea
Remakes
Change
Psycho
Ideas
Punk
Really
Settings
Time
Third
Rocker
Thinking
Thirds
Remaking
Setting
Rockers

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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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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 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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I mean, I think I'm pretty sentimental.
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My department is to get actors to do stuff.
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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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Upon entering my vein, the drug would start a warm edge that would surge along until the brain consumed it in a gentle explosion.It began in the back of the neck and rose rapidly until I felt such pleasure that the world sympathizing took on a soft, lofty appeal.
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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 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 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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And Later I Thought, I Can't Think How Anyone Can Become a Director Without Learning the Craft of Cinematography.
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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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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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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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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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Everything's changing so fast that it's sometimes hard to keep up.
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I'm normally drawn to something I haven't done and seen before.
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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 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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