Quote

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

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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.
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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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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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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 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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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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My department is to get actors to do stuff.
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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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Everything's changing so fast that it's sometimes hard to keep up.
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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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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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Well, I want to do everything in sort of a documentary style, ever since I started in the '80s.
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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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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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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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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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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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I'm normally drawn to something I haven't done and seen before.
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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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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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