Gus Van Sant
Gus Van Sant
Gus Green Van Sant, Jr.is an American film director, screenwriter, painter, photographer, musician and author who has earned acclaim as both an independent and more mainstream filmmaker. His films typically deal with themes of marginalized subcultures, in particular homosexuality; as such, Van Sant is considered one of the most prominent auteurs of the New Queer Cinema movement...
NationalityAmerican
ProfessionDirector
Date of Birth24 July 1952
CountryUnited States of America
approving characters classic direct inventions remind shoot simple watch
I don't usually direct actors in the classic sense of that word. Instead, I try to remind the characters before the shoot what's going on in a very simple way. I then watch them, their inventions as actors, approving or not approving what they're doing.
school character high-school
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.
character people feelings
There are all kinds of ways that people present their films, but that's kind of a good feeling, if you can make it seem like the characters are really there.
family character circles
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.
character cutting needs
Silent is about needing to make a scene shorter by having physical things to cut to. That way, you can manipulate a character to the other side of the room. But, if they say the wrong thing, it might locate that action in a particular part of the scene. It's a mechanical need.
brother character kids
Because I didn't have brothers, I was always interested in the kids down the street that had four brothers in their family, so I became one of them - but it was not my family. I've always been attracted to temporary families. They tend to be lost characters.
reading character actors
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.
extension films originally sort
I was originally a painter, and I made films sort of as an extension of that, and then I started to try to make dramatic films because the early films were experimental films.
check scene watching whether
Usually, when I read something, I'm looking for the story first. And then, when I re-read it, I check every part of it to see whether every scene is necessary. You imagine yourself watching the movie, to see whether or not you're losing the through-line of the story.
You know, I don't think I had a concept of what I would be or do.
chose material million
I did 'Mala Noche' as a way to do something that was outside of the system, because I was outside of the system, and I deliberately chose material that Hollywood wouldn't touch in a million years.
guy leading positive somebody supposed
I had never had a positive leading character - somebody that wasn't an antihero, or who wasn't more of a guy that you're supposed to be on the side of.
There's always a risk if you don't do things the way you've done things before.
bigger california death less lots stuff valley
Death Valley is really wide-open - it's bigger than Rhode Island - and it's less a part of California than an ungoverned territory, so there's lots of weird cops-and-robbers stuff going on.