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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.

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
Way
Dies
Younger
Problem
Inevitable
Littles
Overcoming
Persons
Older
Person
Accept
Little
Accepting
Might
Somebody
Whereas
Going
Bits
Overcome

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I've always been attracted to temporary families.
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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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And Later I Thought, I Can't Think How Anyone Can Become a Director Without Learning the Craft of Cinematography.
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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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If it were up to the executives, they probably wouldn't have directors at all.
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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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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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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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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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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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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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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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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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Everything's changing so fast that it's sometimes hard to keep up.
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I was once a shameless, full-time dope fiend.
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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 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 mean, I think I'm pretty sentimental.
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