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Apparently there’s this kind of songbird that thinks it dies every time the sun goes down. In the morning, when it wakes up, it’s totally shocked to still be alive—so it sings this really beautiful song.

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
Still
Sun
Every
Goes
Songbirds
Kind
Alive
Wakes
Really
Morning
Sings
Time
Dies
Apparently
Thinking
Song
Shocked
Beautiful
Totally
Stills
Thinks

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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've always been attracted to temporary families.
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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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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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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'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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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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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'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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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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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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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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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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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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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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I'm normally drawn to something I haven't done and seen before.
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Yeah, I try to be really calm.
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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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