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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.

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
Family
Circles
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Families
Character
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Outside
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The area of teenage life is not necessarily rarefied we've all gone through that period. It's not as rarefied as a western or a space adventure or a gangster film, but it has its own dynamic.
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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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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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Wong Kar-Wai is a really great inspiration. He's always referred to as the Jimi Hendrix of filmmaking.
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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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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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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.
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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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For all the boredom the straight life brings, it's not too bad.
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Usually when I read something, first of all I'm looking for the story and then when I reread it, I'm sort of checking every part of it to see if every scene is necessary.
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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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No construction stiff working overtime takes more stress and straining than we did just to stay high.
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Sometimes, the people who are helping you can drop the ball.
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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 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.
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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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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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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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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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