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And Later I Thought, I Can't Think How Anyone Can Become a Director Without Learning the Craft of Cinematography.
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
Thought
Filmmaker
Become
Director
Without
Inspiring
Think
Directors
Thinking
Later
Learning
Cinematography
Movie
Craft
Anyone
Crafts
More quotes by Gus Van Sant
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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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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Everything's changing so fast that it's sometimes hard to keep up.
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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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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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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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Digital information, for every type of storage, is unfounded. If everything is on a hard drive and the hard drive freezes up, your whole photography collection could just go away. We can still look at printed photographs of our grandparents. We can physically hold them in our hands and look at it.
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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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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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My department is to get actors to do stuff.
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I was once a shameless, full-time dope fiend.
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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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I'm normally drawn to something I haven't done and seen before.
Gus Van Sant
Wong Kar-Wai is a really great inspiration. He's always referred to as the Jimi Hendrix of filmmaking.
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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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If it were up to the executives, they probably wouldn't have directors at all.
Gus Van Sant
A lot of times, you're not necessarily off the page because you haven't been able to take the time to prepare a character. It's very easy to find even great actors reading it more like a reading. Things aren't really coming alive yet, even though you know they will.
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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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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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