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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.
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
Read
Reread
Stories
Checking
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Necessary
Firsts
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First
Usually
Every
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Story
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If it were up to the executives, they probably wouldn't have directors at all.
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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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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 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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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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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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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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The rules of suspense are that you do know, and you just don't know when. In the Hitchcock rules of suspense, you are supposed to know that there is a bomb on the bus that might blow up, and then it becomes very tense - but if you don't know that there's a bomb and it just blows up, then it's just a surprise.
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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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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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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'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 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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In high school, I read 'Silas Marner' and I was very attracted to this character - he was very rundown and he'd just stop, and things would happen around him.
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