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

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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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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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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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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 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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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 usually trying to react to what the actors are coming up with. And then the environment, and then the story.
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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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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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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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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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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 mean, I think I'm pretty sentimental.
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I'm normally drawn to something I haven't done and seen before.
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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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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.
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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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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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