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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
Change
Psycho
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Punk
Really
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Time
Third
Rocker
Thinking
Thirds
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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've always been attracted to temporary families.
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Everything's changing so fast that it's sometimes hard to keep up.
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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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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 used to take photographs just to remember people.
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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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If a movie isn't released, it's one thing, but if you know it will be, it's nice to have closure and see it come out.
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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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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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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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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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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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And Later I Thought, I Can't Think How Anyone Can Become a Director Without Learning the Craft of Cinematography.
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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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Well, I want to do everything in sort of a documentary style, ever since I started in the '80s.
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I mean, I think I'm pretty sentimental.
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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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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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