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I've told people who have just started to make a film that the one thing you might experience is this feeling that everybody is conspiring against you, because you're not necessarily able to tell what's real and what's not.

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
Might
Started
Real
Everybody
Thing
Feeling
Make
Experience
People
Feelings
Tell
Conspiring
Film
Necessarily
Able
Told

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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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If you don't have the story and the unfolding of the trajectory of the saga, it's like getting in a car and not having any gas.
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I'm not being analytical. I just create everything intuitively. If you're too analytical, what you're doing probably ends up being too specific.
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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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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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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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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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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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Sometimes, the people who are helping you can drop the ball.
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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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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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My department is to get actors to do stuff.
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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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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 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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Everything's changing so fast that it's sometimes hard to keep up.
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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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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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For all the boredom the straight life brings, it's not too bad.
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If it were up to the executives, they probably wouldn't have directors at all.
Gus Van Sant