Jump to content

Gus Van Sant

From Wikipedia, the free encyclopedia

This is an old revision of this page, as edited by Mickeymephistopheles (talk | contribs) at 16:04, 1 January 2009 (Removed likely vandalism; artist is verifiable but song or video is not). The present address (URL) is a permanent link to this revision, which may differ significantly from the current revision.

Gus Van Sant
Born
Gus Van Sant Jr.
Years active1982 -

Gus Van Sant Jr. (born July 24, 1952 in Louisville, Kentucky) is an American Academy Award nominated film director, photographer, musician, and author. He currently lives in Portland, Oregon.

His early career was devoted to directing television commercials in the Pacific Northwest. Openly gay,[1] 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.

As an actor, Van Sant has 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 which was made during Good Will Hunting. As an added joke, they were filming a fake sequel to the movie, called "Good Will Hunting 2: Hunting Season".

He has written the screenplays for most of his early movies, and has written one novel, Pink. [2] A book of his photography has also been published called 108 Portraits. [3]

Biography

Early life

The son of a traveling salesman who rapidly worked his way up the corporate ladder into middle-class prosperity, Van Sant was born in Louisville, Kentucky, on July 24, 1952. As a result of his father's job, the family moved continuously 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 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). Centering around the dealings of two male hustlers (played by River Phoenix and Keanu 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. 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.

File:To die for imp.jpg
Theatrical poster for To Die For, 1995

Van Sant's next project, a 1994 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 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 sucess 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.

Return to arthouse cinema (2003-present)

In any event, 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. The film is scheduled for US release in December of 2007. He also directed the "Le Marais" segment of the omnibus film Paris, je t'aime.

As a musician, Van Sant has released two albums: Gus Van Sant and 18 Songs About Golf.

Awards and nominations

Filmography

Feature films

Short films

[4]

  • 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

[5]

Executive Producer

References

  1. ^ Ehrenstein, David (2002), Van Sant, Gus, retrieved 2007-08-29 {{citation}}: Check date values in: |accessdate= (help); Unknown parameter |publication= ignored (help).
  2. ^ Pink, Gus Van Sant. Faber & Faber, 1998, ISBN 0-385-49353-3
  3. ^ 108 Portraits, Gus Van Sant. Twin Palms Pub., 1993, ISBN 0-944092-22-5
  4. ^ http://www.geocities.com/SunsetStrip/Club/9542/gusbio.html
  5. ^ 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.

External links

Retrieved from "https://en.wikipedia.org/w/index.php?title=Gus_Van_Sant&oldid=261276404"