Gus Van Sant

After spending time in Europe, Van Sant went to Los Angeles in 1976.[11] He secured a job as a production assistant to filmmaker Ken Shapiro, with whom he developed a few ideas, none of which came to fruition. In 1981, Van Sant made 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, making his feature film directorial debut Mala Noche.

It was made two years after Van Sant went to New York to work in an advertising agency. He saved $20,000 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, the film earned Van Sant almost overnight acclaim on the festival circuit, with the Los Angeles Times naming it the year's best independent film.[12] 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 moved back to Portland, Oregon, where he set up house and began giving life to the ideas rejected by Universal. He directed Drugstore Cowboy about four drug addicts robbing pharmacies to support their habit. The film met with great critical success and revived the career of Matt Dillon.

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 license to make Idaho (a film he had originally pitched that was knocked back several times because the studios deemed the script 'too risky'. New Line Cinema now gave Van Sant the green light, and he went on a mission to get the Idaho script into the hands of River Phoenix and Keanu Reeves his preferred choice for the two young leads. After months of struggle with agents and managers over the content of the script, Van Sant finally secured Phoenix and Reeves, who played the roles of Mike Waters and Scott Favor, respectively.

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 previously eluded him.

Van Sant's next film, 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 and a large, eclectic cast including Uma Thurman, John Hurt, Keanu Reeves and a newcomer in the form of River Phoenix's younger sister Rain (at Phoenix's suggestion), the film was worked and then reworked, but the finished product nonetheless resulted in something approaching a significant disaster.

Van Sant's 1995 film 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 stars Matt Dillon as her hapless husband and, the third Phoenix sibling in as many projects, Joaquin Phoenix, as her equally hapless lover (River had died from a drug overdose a year and half earlier). 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.

In 1997, Van Sant gained mainstream recognition and critical acclaim thanks to Good Will Hunting, which starred and was written by Matt Damon and Ben Affleck. The film—about a troubled, blue-collar mathematical genius—was a huge critical and commercial success. It was nominated for nine Academy Awards, including Best Director for Van Sant. It also won two, including Best Screenplay for Damon and Affleck, and Best Supporting Actor Oscar for Robin Williams, who, in his acceptance speech, referred to Van Sant as "being so subtle you're almost subliminal."[13] Van Sant, Damon and Affleck parodied themselves and the film's success in Kevin Smith's Jay and Silent Bob Strike Back.[14]

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. It starred Anne Heche, Vince Vaughn and Julianne Moore, and met with a negative critical reception and did poorly at the box office.

In 2000, Van Sant directed Finding Forrester, about a high-school student (Rob Brown) from the Bronx unlikely becoming a friend of a crusty, reclusive author (Sean Connery). Critical response was generally positive.[15]

In addition to directing, he 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 death.

Van Sant and Joaquin Phoenix at the press conference of Don't Worry, He Won't Get Far on Foot. Berlinale 2018.

Van Sant traveled to the deserts of Argentina, Utah, and Death Valley for the production of 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. The film premiered at the Sundance Film Festival.

It took Gerry over a year to make it to theaters, in which time Van Sant began production on his next film, 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. As well as melding improvisational long takes like those in Gerry with Harris Savides' fluid camerawork, the film was also influenced by Alan Clarke's 1989 film of the same name (see Elephant). The finished film provoked strong reactions from audiences at the 2003 Cannes Film Festival. At the Cannes festival, the jury awarded Elephant with their top prize, the Palme d'Or, and Van Sant with his first Best Director statue from the festival.[2] 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.

Released in 2008, Van Sant's Milk is a biopic of openly gay San Francisco politician Harvey Milk, who was assassinated in 1978. The film received eight Oscar nominations at the 81st Academy Awards, including Best Picture, winning two for Best Actor in a Leading Role for Sean Penn, who starred as Milk, and Best Original Screenplay for writer Dustin Lance Black. Van Sant was nominated for Best Director.[16][17] Van Sant later stated that his experience with Sean Penn on the film was "amazing".[18]

His 2011 project Restless[19] was screened in the Un Certain Regard section at the 2011 Cannes Film Festival, and starred Mia Wasikowska and Henry Hopper, the son of actor Dennis Hopper.[20][21]

Van Sant's film, Promised Land, was released on December 28, 2012.[22] The film stars Frances McDormand, Matt Damon, and John Krasinski—the latter two co-wrote the screenplay based on a story by Dave Eggers. Filmed in April 2012, the production company, Focus Features, selected the release date so that the film is eligible to qualify for awards consideration.[23][24]

Following Promised Land, Van Sant directed a film titled Sea of Trees, which starred Matthew McConaughey and Ken Watanabe. The film tells the story of a man who travels to the infamous Aokigahara suicide forest in Japan to kill himself, only to encounter another man wishing to kill himself as well, with whom he then embarks on a "spiritual journey".[25] The film was selected to compete for the Palme d'Or at the 2015 Cannes Film Festival but was met with harsh critical reception at the Cannes, being booed and laughed at.[26][27]

In December 2016, it was announced Van Sant would direct Don't Worry, He Won't Get Far on Foot, a biopic about cartoonist John Callahan, starring Joaquin Phoenix, Rooney Mara, Jonah Hill, Jack Black and Mark Webber.[28][29][30][31] Principal photography began in March 2017.[32][33]

Van Sant released two musical albums: Gus Van Sant and 18 Songs About Golf. The Broken Social Scene song, "Art House Director", is supposedly about himself, a connection discussed by a Singaporean fan on the internet.[34] Van Sant played himself in episodes of the HBO series Entourage and the IFC series Portlandia.

Van Sant directed the pilot for the Starz television program Boss, starring Kelsey Grammer. Van Sant went onto The Bret Easton Ellis Podcast to discuss filmmaking, writing, film history and their collaborations that never got made (The Golden Suicides) and the one that did (The Canyons).[35]

• 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"
• To Each His Own Cinema (2007) segment "First Kiss" (3 min)
• 8 (2008) segment "Mansion on the Hill"[43]

• "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)
• "The Last Song" by Elton John (1992)
• "San Francisco Days" by Chris Isaak (1993)
• "Just Keep Me Moving" by k.d. lang (1993)
• "Creep" (alternative version) by Stone Temple Pilots (1993)
• "Understanding" by Candlebox (1995)
• "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)[44]
• "Ain't it Funny" by Danny Brown (2016)

• The Elvis of Letters (1985) with William S. Burroughs
• Millions of Images (1990) with William S. Burroughs

• Kids (1995)
• Speedway Junky (1999)
• Tarnation (2003)
• Wild Tigers I Have Known (2006)
• Lightfield's Home Videos (2006)
• Howl (2010)
• Virginia (2010)
• Act Up! (2012)
• Laurence Anyways (2012)
• Revolution (2013)
• I Am Michael (2015)
• Age Out (2018)

• Jay and Silent Bob Strike Back (2001) as Himself
• Entourage- Season 5, Episode 12: Return to Queens Blvd. (2008) as Himself
• The Canyons (2013) as Dr. Campbell

• The Devil You Know (2015) – Director, executive producer
• When We Rise (2017), an American miniseries written by Dustin Lance Black – Director of first two-hour part

Boss Season1 Ep 1 Director