Gus Van Sant

Infobox Actor
name = Gus Van Sant


imagesize = 200px
caption = Van Sant at a screening of "Paranoid Park", December 2007
birthname = Gus Greene Van Sant Junior
birthdate = birth date and age|1952|7|24
birthplace = Louisville, Kentucky, U.S.
yearsactive = 1982 - present
goldenraspberryawards = Worst Director
1998 "Psycho"
awards = Best Director Award (Cannes Film Festival)
2003 "Elephant"
Golden Palm
2003 "Elephant"
NSFC Award for Best Director
1989 "Drugstore Cowboy"
NSFC Award for Best Screenplay
1989 "Drugstore Cowboy"
NYFCC Award for Best Screenplay
1989 "Drugstore Cowboy"

Gus Green Van Sant, Jr. (born July 24, 1952) is an American film director, photographer, musician, and author. He was nominated for the Best Director Academy Award for his 1997 film "Good Will Hunting". He currently lives in Portland, Oregon.

His early career was devoted to directing television commercials in the Pacific Northwest. Openly gay,citation |last=Ehrenstein |first=David |title=Van Sant, Gus |publication=glbtq.com |year=2002 |accessdate=2007-08-29 |url=http://www.glbtq.com/arts/van_sant_g.html.] he has dealt unflinchingly with homosexual and other marginalized subcultures without being particularly concerned about providing positive role models.

His filmography as writer and director includes an adaptation of Tom Robbins' novel "Even Cowgirls Get the Blues", which features a diverse cast (Keanu Reeves, Roseanne Barr, Uma Thurman, and k.d. lang, with cameos by William S. Burroughs and Heather Graham, among others); and "My Own Private Idaho", also starring Reeves as well as the late River Phoenix (Van Sant also planned to direct a biographical film about Andy Warhol with Phoenix in the lead role, but canceled the project after Phoenix's death). He is perhaps best known for directing "Good Will Hunting".

He wrote the screenplays for most of his early movies, and wrote one novel, "Pink". ["Pink", Gus Van Sant. Faber & Faber, 1998, ISBN 0-385-49353-3] A book of his photography has also been published, called "108 Portraits". ["108 Portraits", Gus Van Sant. Twin Palms Pub., 1993, ISBN 0-944092-22-5]

Biography

Early life

Van Sant was born in Louisville, Kentucky, the son of Betty (née Seay) and Gus Green Van Sant, Sr, a clothing manufacturer [http://www.filmreference.com/film/20/Gus-Van-Sant.html Gus Van Sant Biography (1952?-)] ] and traveling salesman who rapidly worked his way up the corporate ladder into middle class prosperity. As a result of his father's job, the family moved continually during Van Sant's childhood. Van Sant is an alumnus of The Catlin Gabel School in Portland, Oregon. One constant in the director's early years was his interest in painting and Super-8 filmmaking; while still in school he began making semi-autobiographical shorts costing between 30 and 50 dollars. Van Sant's artistic leanings took him to the Rhode Island School of Design in 1970, where his classmates included David Byrne and other members of Talking Heads. It was also at RISD that Van Sant received an introduction to avant-garde directors like Stan Brakhage, Jonas Mekas, and Andy Warhol; this introduction quickly inspired him to change his major from painting to cinema.

Early career (1978-1989)

After spending time in Europe, Van Sant went to Los Angeles in 1976. He secured a job as a production assistant to writer/director Ken Shapiro, with whom he developed a few ideas, none of which came to fruition. Van Sant channeled his frustrations into the 1981 "Alice in Hollywood", a film about a naïve young actress who goes to Hollywood and abandons her ideals. It was never released. During this period, Van Sant began to spend time observing the denizens of the more down-and-out sections of Hollywood Boulevard. He became fascinated by the existence of this marginalized section of L.A.'s population, especially in context with the more ordinary, prosperous world that surrounded them. Van Sant would repeatedly focus his work on those existing on society's fringes, beginning with his 1985 film "Mala Noche".

"Mala Noche" was made two years after Van Sant went to New York to work in an advertising agency. He saved 20,000 dollars during his tenure there, enabling him to finance the majority of his tale of doomed love between a gay liquor store clerk and a Mexican immigrant. The film, which was taken from Portland street writer Walt Curtis' semi-autobiographical novella, featured some of the director's hallmarks, notably an unfulfilled romanticism, a dry sense of the absurd, and the refusal to treat homosexuality as something deserving of judgment. Unlike many gay filmmakers, Van Sant — who had long been openly gay — declined to use same-sex relationships as fodder for overtly political statements, although such relationships would frequently appear in his films.

Shot in black-and-white, "Mala Noche" earned its director almost overnight acclaim on the festival circuit, with the "Los Angeles Times" naming it the year's Best Independent Film. The film's success attracted Hollywood interest, and Van Sant was briefly courted by Universal; the courtship ended after Van Sant pitched a series of project ideas (including what would later become "Drugstore Cowboy" and "My Own Private Idaho") that the studio declined to take interest in.

Van Sant reacted by moving to Portland, Oregon, where he set up house and began giving life to the ideas rejected by Universal. With the assistance of independent production company "Avenue", the director made "Drugstore Cowboy", his 1989 film about four drug addicts who rob pharmacies to support their habit. "Cowboy" met with great critical success; in addition to furthering Van Sant's reputation as a gifted director, it helped to revive the career of Matt Dillon, who was remarkable as the junkie leader who decides to come clean.

Indie and arthouse success (1990-1995)

"Drugstore Cowboy"'s exploration of the lives of those living on society's outer fringes, as well as its Portland setting, were mirrored in Van Sant's next effort, the similarly acclaimed "My Own Private Idaho" (1991). Only with the success of "Cowboy" was Van Sant now given licence to make "Idaho" (a project he had originally pitched but was knocked back several times as the script was deemed 'too risky' by studios). Now New Line Cinema had given Van Sant the green light, he was on a mission to get the "Idaho" script to his first choices for his two young leads. After months of struggle with agents and managers over the content of the script, Van Sant finally secured River Phoenix and Keanu Reeves in the roles of Mike Waters and Scott Favor. Centering around the dealings of two male hustlers (played by Phoenix and Reeves), the film was a compelling examination of unrequited love, alienation, and the concept of family (a concept Van Sant repeatedly explores in his films). The film won him an Independent Spirit Award for his screenplay (he had won the same award for his Drugstore Cowboy screenplay), as well as greater prestige. The film also gained River Phoenix best actor honors at the Venice Film Festival among others. In addition, it helped Reeves — previously best-known for his work in the "Bill and Ted" movies — to get the critical respect that had hitherto eluded him.

Van Sant's next project, a 1993 adaptation of Tom Robbins' "Even Cowgirls Get the Blues", was an excessive flop, both commercially and critically. Featuring an unusually large budget (for Van Sant, at least) of 8.5 million dollars and a large, eclectic cast including Uma Thurman, John Hurt, and Keanu Reeves, the film was worked and then reworked, but the finished product nonetheless resulted in something approaching a significant disaster.

Fortunately for Van Sant, his next project, 1995's "To Die For", helped to restore his luster. An adaptation of Joyce Maynard's novel, the black comedy starred Nicole Kidman as a murderously ambitious weather girl; it also featured Van Sant favorite Matt Dillon as her hapless husband and Joaquin Phoenix, brother of the late River (who had died of an overdose two years earlier), as her equally hapless lover. It was Van Sant's first effort for a major studio (Columbia), and its success paved the way for further projects of the director's choosing. The same year, he served as executive producer for Larry Clark's "Kids"; it was a fitting assignment, due to both the film's subject matter and the fact that Clark's photographs of junkies had served as reference points for Van Sant's "Drugstore Cowboy".

Mainstream breakout (1997-2003)

In 1997 came true mainstream acceptance for the director, thanks to "Good Will Hunting". Starring and written by Matt Damon and Ben Affleck, the film — about a troubled, blue-collar mathematical genius — was a huge critical and commercial success. In addition to taking in more than 220 million dollars worldwide, it received a number of Academy Award nominations, including a Best Director nomination for Van Sant. It won a Best Screenplay Oscar for Damon and Affleck, and a Best Supporting Actor Oscar for Robin Williams. Van Sant, Damon and Affleck parodied themselves and the film's success in "Jay and Silent Bob Strike Back".

The success of "Good Will Hunting" afforded Van Sant the opportunity to remake the Alfred Hitchcock classic "Psycho". As opposed to reinterpreting the 1960 film, Van Sant opted to recreate the film shot-for-shot, in color, with a cast of young Hollywood A-listers. His decision was met with equal parts curiosity, skepticism, and derision from industry insiders and outsiders alike, and the finished result met with a similar reception. Starring Anne Heche, Vince Vaughn, and Julianne Moore, "Psycho", if not exactly a failure, wasn't much of a triumph, either. However, its mixed reception didn't deter the director, who was soon busy again with a number of projects. In addition to directing, he also devoted considerable energy to releasing two albums and publishing a novel, "Pink", which was a thinly veiled exploration of his grief over River Phoenix's 1993 death.

Van Sant fared somewhat better with 2000's "Finding Forrester", a drama about a high-school student from the Bronx (Rob Brown) who becomes unlikely friends with a crusty, reclusive author (Sean Connery). Critical response was mixed but generally positive, singling out Van Sant's skill at melding the performance styles of first-time actor Brown and Hollywood legend Connery. However, those same reviewers were less impressed with the script's schematic "Scent of a Woman"-meets-"Good Will Hunting" template.

Van Sant appeared in a cameo on screen in Kevin Smith's "Jay and Silent Bob Strike Back" playing himself. In the movie, he is counting wads of money made from "Good Will Hunting", and filming a fake sequel to the movie, called "Good Will Hunting 2: Hunting Season".

Return to arthouse cinema (2003-present)

Van Sant, longing to return to more intimate production methods, decided to leave behind big-budget studio filmmaking for his next two features. Inspired by the works of Hungarian director Bela Tarr and American maverick John Cassavetes, Van Sant retreated to the deserts of Argentina, Utah, and Death Valley for 2002's "Gerry", a loosely devised, largely improvised feature in which stars Matt Damon and Casey Affleck — both playing characters named Gerry — wander through the desert, discussing "Wheel of Fortune", video games, and nothing in particular. Premiering at the Sundance Film Festival, the film earned as much derision as it did praise, polarizing audiences with its elliptical, purposefully uneventful storyline, punctuated by cinematographer Harris Savides' stunning landscape photography.

It took "Gerry" over a year to make it to theaters, in which time Van Sant began production on his next film, the controversial "Elephant". Approached by HBO and producer Diane Keaton to craft a fictional film based on the 1999 Columbine High School massacre, the director chose to shoot in his hometown of Portland, employing dozens of untrained teen actors to chronicle an "ordinary" high-school day — albeit one underlined by an unexpected tragedy. Melding improvisational long takes like those in Gerry with Savides' fluid camerawork, the finished film provoked strong reactions from audiences at the 2003 Cannes Film Festival, who either embraced or rejected Van Sant's aesthetic decision not to offer a definitive rationale for his characters' homicidal tendencies. The consensus from the Cannes jury was unanimous, however: in a surprise decision, they awarded "Elephant" with their top prize, the Palme d'Or, and Van Sant with his first Best Director statue from the festival. The success of "Elephant" led Van Sant to show the U.S. premiere of "Elephant" as a fundraiser for Outside In, an organization working to help youth living on the streets of Portland, Oregon.

In 2005 Van Sant released "Last Days", the final component of what he refers to as his "Death Trilogy," (the other parts being "Gerry" and "Elephant"). It is a fictionalized account of what happened to Nirvana frontman Kurt Cobain in the days leading up to his death.

In 2006 Van Sant began work on "Paranoid Park" based on the book by Blake Nelson, about a skateboarding teenager who accidentally causes someone's death. The film was released in Europe in February 2008. He also directed the "Le Marais" segment of the omnibus film "Paris, je t'aime".

Van Sant's next film will be something of a return to the mainstream. The feature film "Milk" is a biopic of Harvey Milk, the San Francisco supervisor assassinated in 1978, played by Sean Penn, and released in the fall of 2008.

Van Sant has released two musical albums: "Gus Van Sant" and "18 Songs About Golf".

Awards and nominations

* "My Own Private Idaho" (1991)
** Venice Film Festival Official Selection
** Toronto Film Festival FIPRESCI Prize
* "Good Will Hunting" (1998)
** Berlin Film Festival Official Selection
** Academy Award Nomination for Best Director
** DGA Nomination for Outstanding Directorial Achievement In Motion Pictures
* "Finding Forrester" (2000)
** Berlin Film Festival Prize of the Guild of German Art House Cinemas
* "Gerry" (2002)
** Toronto Film Festival Vision Awards - Special Citation
* "Elephant" (2003)
** Cannes Film Festival Palme d'Or
** Cannes Film Festival Prix de la mise en scène
* "Last Days" (2005)
** Cannes Film Festival Official Selection
* "Paranoid Park" (2007)
** Cannes Film Festival Prix du 60ème anniversaire (also acknowledging his body of works)

Filmography

Feature films

* "Mala Noche" (1985)
* "Drugstore Cowboy" (1989)
* "My Own Private Idaho" (1991)
* "Even Cowgirls Get The Blues" (1993)
* "To Die For" (1995)
* "Good Will Hunting" (1997)
* "Psycho" (1998)
* "Finding Forrester" (2000)
* "Gerry" (2002)
* "Elephant" (2003)
* "Last Days" (2005)
* "Paranoid Park" (2007)
* "Milk" (2008)

hort films

[ [http://www.geocities.com/SunsetStrip/Club/9542/gusbio.html Gus van Sant: biography ] ]
* "Fun with a Bloodroot" (1967) (2 min 20 sec, 8 mm color)
* "The Happy Organ" (1971) (20 min, 16 mm black and white)
* "Little Johnny" (1972) (40 sec, 16 mm black and white)
* "1/2 of a Telephone Conversation" (1973) (2 min, 16 mm black and white)
* "Late Morning Start" (1975) (28 min, 16 mm color)
* "The Discipline of DE" (1978) (9 min, 16 mm black and white, adaptation of William S. Burroughs' short story, narrated by Ken Shapiro)
* "Alice in Hollywood" (1981) (45 min, 16 mm color)
* "My Friend" (1982) (3 min, 16 mm black and white)
* "Where'd She Go?" (1983) (3 min, 16 mm color)
* "Nightmare Typhoon" (1984) (9 min, 16 mm black and white)
* "My New Friend" (1984) (3 min, 16 mm color)
* "Ken Death Gets Out of Jail" (1985) (3 min, 16 mm black and white)
* "Five Ways to Kill Yourself" (1986) (3 min, 16 mm black and white)
* "Thanksgiving Prayer" (1991) (2 min, 35 mm color, written by and starring William S. Burroughs)
* "Four Boys in a Volvo" (1996) (4min, color)
* "Paris, je t'aime" (2006) "(segment "Le Marais")"
* "Chacun son cinéma" / "To Each His Cinema" (2007) (segment "First Kiss")

Music videos

[http://www.mvdbase.com/tech.php?last=van+Sant&first=Gus. Note that Chris Isaak's "Solitary Man" (1993) was "not" directed by Van Sant but by Larry Clark.]
* "Thanksgiving Prayer" by William Burroughs (1990)
* "Fame '90" by David Bowie (1990)
* "I'm Seventeen" by Tommy Conwell & The Young Rumblers (1991)
* "Under the Bridge" by Red Hot Chili Peppers (1992)
* "Bang Bang Bang" by Tracy Chapman (1992)
* "Runaway" by Deee-Lite (1992)
* "Anal Torture" by That Kid Art (1992)
* "The Last Song" by Elton John (1992)
* "San Francisco Days" by Chris Isaak (1993)
* "Just Keep Me Moving" by k.d. lang (1993)
* "Creep" (alternate version) by Stone Temple Pilots (1993)
* "Understanding" by Candlebox (1995)
* "The Ballad of the Skeletons" by Allen Ginsberg with Paul McCartney, Philip Glass, Lenny Kaye et al. (1996)
* "Weird" by Hanson (1998)
* "Who Did You Think I Was?" (turntable version) by John Mayer Trio (2005)
* "Desecration Smile" by Red Hot Chili Peppers (2007)

Executive producer

* "Cam Archer 's Wild Tigers I Have Known

References

External links

*
* [http://www.myspace.com/gusvansant MySpace]
* [http://gusvansant.com/ Fansite]
* [http://www.futuremovies.co.uk/filmmaking.asp?ID=230 "Future Movies" "Paranoid Park" interview (01/2008)]
* [http://film.guardian.co.uk/interview/interviewpages/0,6737,1128806,00.html "Guardian" interview (01/2004)]
* [http://www.geraldpeary.com/interviews/stuv/van-sant-elephant.html Interview (11/2003)]
* [http://www.sensesofcinema.com/contents/05/36/elephant.html "Senses of Cinema" essay]
* [http://www.reverseshot.com/issue/issue_21 "Reverse Shot" issue dedicated to Van Sant's films]