Name	Gus Van Sant
Height	5'9
Naionality	American
Date of Birth	24-July-1952
Place of Birth	America
Famous for

When asked "Why in the hell would you want to do a shot-by-shot remake of Psycho in color?" He serenely replied "So no one else would have to."

You can't copy a film. If I hold a camera, it's different than if Irving Penn holds it. Even if it's in the same place, it will magically take on his character. Which was part of the experiment. Our 'Psycho' showed that you can't really appropriate. Or you can appropriate, but it's not going to be the same thing.

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.

Part of me believes in anonymous art. I got that from a writer named Jamake Highwater, who wrote about painting before the Renaissance. The way people related to art in, say, ancient Greece. How it was about the community for the community and not the self-expression of the artist. I thought of 'Good Will Hunting' and 'Finding Forrester' as doing it for the people, and wanted to speak without the hindrance of my own style. I'm not sure if that's possible, but it was my rationale.

Because we're used to making films and observing films with a sort of shorthand. You see the car going down the road. O.K. Got it. Then it's the next shot. Usually what happens then is people start talking about something that will relate to the story instead of something random and more lifelike, like dental work. We learn in English class not to have it be about dental work. But maybe watching the car going down the road is important. To really watch it - as if you were in the car.

Kubrick was a good model. He had an autonomy I've never had but that one desire. He organized things a certain way. And he had a good relationship with Warner Brothers. He was their class act.

Different filmmakers do it different ways. My way was to make something for cheap. It's a good deal for people to give me $3 million for a movie. So they don't have a lot of requirements. If I was looking for $30 million, then they need more requirements. They need movie stars, and they need backup for their money. The drawback is, when they spend small amounts of money, the studios don't tend to release the movie very wide since they don’t have that much at stake. Which is O.K. because the films can fend for themselves and be seen by word of mouth.