01 02 03
6 9
Welcome
10
Biography
20
Filmography
23
Awards
29
An Interview with Gus Van Sant
46
Drugstore Cowboy
52
My Own Private Idaho
44 58
Good Will Hunting
64
Finding Forrester
70
Elephant
76
Paranoid Park
84
Venue
87
Schedule
88
Photography Exhibition
91
Places To Eat
83
01
03
THE FESTIVAL 9
THE “IT’S NOT YOUR FAULT” FILM FESTIVAL IS DEDICATED TO THE FILMS OF ONE OF THE MOST THRILLING MODERN AMERICAN FILM DIRECTORS AND WRITERS, GUS VAN SANT. HE IS WIDELY KNOWN FOR FOCUSING ON MARGINALIZED AND ISOLATED CHARACTERS.
A film director who is capable of crafting both deeply unconventional independent films and mainstream crowd-pleasers, Gus Van Sant has managed to carve an enviable niche for himself in Hollywood. Since debuting in 1985 with Mala Noche, Gus Van Sant has become one of the premiere bards of dysfunction, populating his films with a parade of hustlers, junkies, psychopathic weather girls, homicidal teens, and troubled geniuses.
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A DIRECTOR WHO IS CAPABLE OF CRAFTING BOTH DEEPLY UNCONVENTIONAL INDEPENDENT FILMS AND MAINSTREAM CROWD-PLEASERS, GUS VAN SANT HAS MANAGED TO CARVE AN ENVIABLE NICHE FOR HIMSELF IN HOLLYWOOD. IN THE YEARS THAT FOLLOWED HIS DEBUT IN 1985 WITH MALA NOCHE, VAN SANT ESTABLISHED HIMSELF AS ONE OF THE MOST VITAL DIRECTORIAL VOICES IN THE UNITED STATES.
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. Due to his father’s job, the family moved continuously during Van Sant’s childhood. 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 introduction to various avant-garde directors inspired him to change his major from painting to cinema.
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After spending time in Europe, Van Sant went to Los Angeles in 1976. He became fascinated by the downand-out residents of L.A., especially in context with the more ordinary, prosperous world that surrounded them; his film Mala Noche (1985) would reflect his observation of these societal outcasts. Mala Noche was made two years after Van Sant went to New York to work in an advertising agency; saving 25,000 dollars during his tenure there, he was able to finance 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’s 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.
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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. The similarly acclaimed My Own Private Idaho (1991) centered around the dealings of two male hustlers (played by River Phoenix and Keanu Reeves), and was a compelling examination of unrequited love, alienation, and the concept of family. 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.
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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 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.
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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. The unprecedented success of Good Will Hunting allowed Van Sant to pursue whatever project his heart desired, which ended up being an unusually faithful remake of the Alfred Hitchcock classic Psycho. As opposed to reinterpreting the 1960 film, however, 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.
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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. In any event, Van Sant 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 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 storyline.
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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. 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. 2008 saw the release of two more Van Sant films: Paranoid Park and Milk. Paranoid Park was a small film utilizing a largely on-professional cast, but Milk signified a resounding return to commercial filmmaking. Many directors tried to get the life story of slain San Francisco politician Harvey Milk to the big screen, but it was Van Sant who finally pulled it off. The film, starring Sean Penn as Milk, opened to strong reviews, and garnered a number of year-end awards including eight Oscar nominations. In addition to Best Picture, Best Original Screenplay, and Best Actor nods, the Academy bestowed Van Sant’s with the second Best Director nomination of his career. In 2011, Van Sant returned to the director’s chair for the unusual fantasy Restless, with Mia Wasikowska and Henry Hopper as a couple whose paths intersect with the ghost of a WWII kamikaze pilot.
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A LIST OF MOTION PICTURES GUS VAN SANT HAS DIRECTED 15 FILMS
YEAR
FILM
RELEASE DATE
1986
MALA NOCHE
May 4, 1988 (USA)
1989
DRUGSTORE COWBOY
October 6, 1989 (USA)
1991
MY OWN PRIVATE IDAHO
September 29, 1991 (USA)
1994
EVEN COWGIRLS GET THE BLUES
May 20, 1994 (USA)
1995
TO DIE FOR
October 6, 1995 (USA)
1997
GOOD WILL HUNTING
December 5, 1997 (USA)
1998
PSYCHO
December 4, 1998 (USA)
2000
FINDING FORRESTER
December 22, 2000 (USA)
2003
GERRY
February 14, 2003 (USA)
2003
ELEPHANT
October 24, 2003 (USA)
2005
LAST DAYS
July 22, 2005 (USA)
2007
PARANOID PARK
March 7, 2008 (USA)
2008
MILK
October 28, 2008 (USA)
2011
RESTLESS
September 16, 2011 (USA)
2012
PROMISED LAND
December 28, 2012 (USA)
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A GUS VAN SANT FILM FESTIVAL
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A LIST OF AWARDS GUS VAN SANT HAS RECEIVED 15 WINS AND 11 NOMINATIONS
YEAR
AWARD
FILM
LOS ANGELES FILM CRITICS ASSOCIATION AWARD 1987
Independent Film/Video Award
Mala Noche (1986)
(Won) NEW YORK FILM CRITICS CIRCLE AWARD 1989
Best Screenplay
Drugstore Cowboy (1989)
(Won) NATIONAL SOCIETY OF FILM CRITICS AWARD 1989
Best Screenplay
Drugstore Cowboy (1989)
(Won) LOS ANGELES FILM CRITICS ASSOCIATION AWARD 1989
Best Screenplay
Drugstore Cowboy (1989)
(Won) NATIONAL SOCIETY OF FILM CRITICS AWARD 1989
Best Director
Drugstore Cowboy (1989)
(Won) INDEPENDENT SPIRIT AWARD 1990
Best Screenplay
Drugstore Cowboy (1989)
(Won) INDEPENDENT SPIRIT AWARD 1990
Best Director
Drugstore Cowboy (1989)
(Nominated) INDEPENDENT SPIRIT AWARD 1992
Best Screenplay (Won)
My Own Private Idaho (1991)
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YEAR
AWARD
FILM
INDEPENDENT SPIRIT AWARD 1992
Best Film Music
My Own Private Idaho (1991)
(Won) INDEPENDENT SPIRIT AWARD 1992
Best Feature
My Own Private Idaho (1991)
(Nominated) INDEPENDENT SPIRIT AWARD 1992
Best Director
My Own Private Idaho (1991)
(Nominated) DIRECTORS GUILD OF AMERICA AWARD 1998
Outstanding Directorial Achievement in Motion Pictures
Good Will Hunting (1997)
(Nominated) ACADEMY AWARD 1998
Best Director
Good Will Hunting (1997)
(Nominated) CANNES FILM FESTIVAL 2003
Best Director
Elephant (2003)
(Won) CANNES FILM FESTIVAL 2003
Palme d’Or
Elephant (2003)
(Won) INDEPENDENT SPIRIT AWARD 2003
Best Director
Gerry (2002)
(Nominated) INDEPENDENT SPIRIT AWARD 2004
Best Director (Nominated)
Elephant (2003)
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YEAR
AWARD
FILM
CANNES FILM FESTIVAL 2007
60th Anniversary Prize
Paranoid Park (2007)
(Won) INDEPENDENT SPIRIT AWARD 2008
Best Director
Paranoid Park (2007)
(Nominated) SAN FRANCISCO FILM CRITICS CIRCLE AWARD 2008
Best Director
Milk (2008)
(Won) CRITICS’ CHOICE AWARD 2008
Best Director
Milk (2008)
(Nominated) BOSTON SOCIETY OF FILM CRITICS AWARD 2008
Best Director
Milk (2008)
(Won) DIRECTORS GUILD OF AMERICA AWARD 2008
Best Screenplay
Milk (2008)
(Won) ACADEMY AWARD 2009
Best Achievement in Directing
Milk (2008)
(Nominated) BOSTON SOCIETY OF FILM CRITICS AWARD 2008
Best Director
Paranoid Park (2007)
(Won) BERLIN INTERNATIONAL FILM FESTIVAL 2013
Special Mention (Won)
Promised Land (2012)
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A GUS VAN SANT FILM FESTIVAL
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BY JOSHUA BLANK JUXTAPOZ ART & CULTURE MAGAZINE
ONE OF THE GREAT INDEPENDENT FILMMAKERS AMERICA HAS EVER PRODUCED, WITH NOTABLE FILMS SUCH AS GOOD WILL HUNTING, MILK, MY OWN PRIVATE IDAHO, ELEPHANT, AND SO MANY MORE, WE WERE ABLE TO SIT DOWN WITH GUS VAN SANT AT HIS HOME IN PORTLAND, OREGON IN MARCH 2011, TO DISCUSS PHOTOGRAPHY, FILMMAKING, AND THE INTRICACIES OF ART.
How did your life change when you moved out here to Portland; can you compare it to where you lived before? Well, Darien, Connecticut was like a bedroom community. Even the downtown part was very quaint. Everyone there had business in NYC. All the fathers in the town either took the train or drove to work. Out here in Portland, there weren’t really suburbs, although Oregon did have a few classic residential communities, too, but it was a small enough city, that there wasn’t enough space for people to lose their families. Whereas in Darien, the families didn’t seem to have a heritage or a family infrastructure. The grandparents were not around because everyone in Darien were sort of like corporate gypsies. The fathers had been transferring from city to city, and they just happened to bring their families to Darien. My parents moved away as soon as I got out of school because it was always their plan to just be there for the time being. When I moved out to Portland, all of a sudden I wasn’t living in a suburb.
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While in school, you started painting, but then switched your focus to film? Yeah. When I was in Junior High school, I was painting because we had a really good art teacher who painted his own paintings in class. And there was a certain group of people that were like the art kids, who got attracted to this one teacher. I also had an English teacher who was showing us films from the Canadian Film Board. So, I had this film side. We would make films because some of the kids would get cameras and then we’d show them in class. I would actually make experimental films, but they were like the films that painters like Stan Brakhage made. You’d make a Stan Brakhage-like movie. You’d print on it, draw on it, paste moth wings on it. At the time, you are outside the city but influenced by what’s going on in the city, which was this American Avant-Garde underground cinema revolution. Lots of people were shaped by the movement. Andy Warhol was greatly influenced by the movement, but there were others like Kenneth Anger, Stan Vanderbeek,the Kuchar Brothers, and Derek Jarman, after he made his first film, Jubilee, which was kind of trying to be too traditional, Jarman just tossed it and started shooting in Super 8 and made all of these amazing films like The Last of England. Later, I got to know him and he was telling me that he got his inspiration from the filmmakers in NYC in the early ‘60s.
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I realized that being in the city at the time I could go to the anthology film archives in the MoMA and see some of the films. Each filmmaker had created their own language. You looked at Hollywood films, like even Citizen Kane, which was one of the best of the Hollywood films; they didn’t go as far as the experimental films, and as a kid that was very exciting. Can you explain your characterization of Elephant being in the Dogme tradition? Thomas Vinterberg told me about Dogme 95. He explained that they were collectivizing and creating this thing, and he explained some of the rules, which emphasized story and acting. Later when I saw The Celebration, which was the first Dogme film, I was mostly blown away by the way Anthony Dodd Mantle shot it. He was the guy who shot Slumdog Millionaire, and 127 Hours. Early on, I didn’t have the finances to do my films any way other than Dogme. And doing Dogme films early on helped me learn to not allow the system to overtake me. Because if you don’t watch out as a filmmaker, and if you don’t set rules, then all of those rules will be handled by the props manager. And they’ll end up setting the same rules that they used on their TV movie two weeks ago. Dogme was a good thing for a filmmaker, like me, who was running into films without of control crews. All of a sudden, you find yourself with a huge amount of equipment and the equipment getting in your way. After that realization I started to work small. The crews job is to be prepared, and if they don’t know what you’re up to, they’re going to over prepare. Part of it is the unions as well. They’re so used to adding unnecessary personnel. It wasn’t until Gerry where I tried to get a small crew but it was almost impossible. I wanted five, and then I got twenty.
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It was five when you shot Mala Noche? There were actually just three, well four and then the actors. That’s because everything was for free. It was easy to have a small crew because we didn’t need anyone and there weren’t any paying jobs or unions. On Gerry, we started to have Dogme tenants and weren’t going to use any lights. If we did use lights it was a campfire, or the work lights in the equipment truck or headlights from cars. We just started paring down and got rid of things we didn’t need. A lot of it was just taking the unions out of it. The next film like that was Elephant. We would use lights in the school but it was different because we were also finding locations like Dogme locations, like Vinterburg’s case, where he had the hotel or the big house. With Gerry, we had one giant location that was Death Valley and in Elephant we had the school. We had numbers of crews but they all got lost in the classroom offices that they would make. The whole school was abandoned.
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Is that school in Portland? Torn down; they were about to tear it down because of mold. It looked like the school had abandoned itself, as if a nuclear bomb was about to hit. Everything was actually there, untouched, with basketballs in the gym. There was even a coach’s jacket with hall passes in it. We used the overhead lights sometimes and we really tried to use the window light. The next one with no lights was Last Days. If there was a lamp there, then we’d use the light from the lamp. But when you had a budget, sometimes you’d make commercial films, like Good Will Hunting and Finding Forrester. To Die For as well. It was a lower budget Sony film but it was commercial. The other films were conceived by me, I knew everybody and I hired the producer. In the case of To Die For the producers put it together, not me. It wasn’t exactly a job we had written the script for, but we got in on it early. It was a studio picture. Good Will Hunting was Miramax, which was a small company. They had this script that suggested a certain type of film; you read it and it felt like a script that I had seen before, like a Robert Redford film or something. Mala Noche, Drugstore Cowboy, and My Own Private Idaho, those three films were all non-commercial ideas. A film about a gay wino, grocery store clerk falling in love with a younger Mexican boy is just not something you’d see in a theater.
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And it proved hard for you to show that film? It was even hard to show at gay film festivals. It just didn’t have any place. Which is kind of why I did it. Same thing with Drugstore Cowboy, it wasn’t the usual. It was written by someone who had lived the druggy life, It was like pulp fiction, but also authentic. Then My Own Private Idaho was like that, too. So, those three had something in common and then To Die For was a dark comedy. It wasn’t particularly a cozy movie, it didn’t fit anywhere. Even Cowgirls Get the Blues was my attempt to make something that was commercial, but the whole transference of Tom Robbins to the screen was something the public wasn’t into. It was quite different than many of my films because it was my take on commercial filmmaking. I chose something that was hard, a screwball comedy, and that was the way I read Tom Robbins.
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What I hadn’t done was something super straight and that was what Good Will Hunting suggested. Ben and Matt wrote it like straight American Cinema. The story was about someone who was enigmatic but also was flawed and needed help, a traditional story, which I liked a lot but had never considered doing. It was one movie of mine that made a lot of money, and it was intended to make a lot of money. The writers were writing it like all of their favorite films— there was even an action side to it. The idea was that Will Hunting was so smart that the government kept an eye on him, and monitored him because he would be a liability if anyone else got a hold of him. There were black cars always following him around and sometimes for fun, Will Hunting would try to ditch them and there would be these big action scenes.
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Psycho was the result of Good Will Hunting. I could do whatever I wanted because Good Will Hunting made money. When you make money people invite you to do stuff. I had a choice of what to do, and I made something experimental. I was reacting against the general habit of people doing remakes. People would grave-rob the scripts from the ’50s and change the ending because the ending was too dark. I thought, why don’t I make an actual remake. For odd reasons, one of the things I was interested in was keeping Alfred Hitchcock’s hand alive, to try to keep the original in tact. For other people like academia and teachers at UCLA and executives in Hollywood they thought I was challenging Hitchcock, when in fact I was copying him.
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Psycho looks more like one of your movies than Good Will Hunting. Probably because I learned more from Hitchcock than I learned from ordinary people. I was guessing you would say that with Good Will Hunting and Finding Forrester you just made them so that you could fund your own movies. No, I didn’t do that, but yeah, sometimes filmmakers do that. Good Will Hunting didn’t have any more promise than Cowgirls or To Die For or Drugstore Cowboy. It was a hypothetical script. It seemed warm and fuzzy. But warm and fuzzy don’t always pan out. The two actors had never been leads particularly. I embraced that but the studio wanted to get Brad Pitt in there instead of Matt Damon. They wanted Brad Pitt and Leonardo DiCaprio to play those rolls. In the end, they thought they couldn’t actually use Matt and Ben. Matt and Ben wouldn’t step aside, they were screamed at, offered money, but they wouldn’t give up. They were smart because it worked for them and now they’re giant movie stars. This was their baby.
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Weren’t you also their choice? Yeah, they wanted me. They dug my films. I knew Ben because his brother Casey was in To Die For. They just wanted it to happen more than anything. I think there were like 30 people who came and went, and I was one of them. Matt and Ben wanted to just go. And in the end, it all worked out. It was different and it wasn’t like I was doing anyone a favor. For me, the one that I was really cashing in was Psycho. It didn’t seem like I was selling out. Finding Forrester was a really good payday, but it was trying to see if I could go back into Good Will Hunting territory. Did you want to go back to that Good Will Hunting territory? Yeah because Finding Forrester read sort of like Hunting because it was warm and cozy and life affirming. It didn’t pan out to be a big hit but it did well. I decided that with Gerry I would just go small. I hadn’t made a small movie since Mala Noche.
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You just had a book published, One Step Big Shot. The book has 30 portraits. The guy who made this was aware of my old book, 108 Portraits, so he was trying to make a grouping of photographs that didn’t appear in 108 portraits. Like that one of Minnie Driver or Matt Damon. The 108 Portraits had been printed when I took that picture. The one of Ken Kesey, also in this book, was also in 108 Portraits. So the stuff you showed with Andy Warhol in Eugene? The one in Eugene with Warhol was one of these, yeah. It was the same curator, Larry Fong fromthe University of Oregon, Jordan Schnitzer Museum. There were Warhol’s photographs that were little SX70s he’d make prints of and put them next to the photo. He made a print of Mick Jagger. My side of the room were small Polaroids and then six blow-ups. They also showed a William Burroughs video where he was reading a poem and one for Allen Ginsberg that I had done, which was a video for one of the poems that he made into a song. That was really my first art show, which was last June. And then I showed at the PDX Gallery.
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Did you ever expect to have a show of your photos? Well yeah, I used that film, Polaroid 665. But all the films are discontinued, and after taking a few pictures of people I realized that if I used the film that had a negative, I would have a huge detailed negative and you could have a show. Actually, the Eugene show wasn’t my first; I did have a show at Jameson Thomas Gallery in 1993, which was quite extensive, their whole gallery filled with big blow-ups. I was meeting a lot of interesting people, and in the end, a lot of the people I shot in ’89 ended up being famous, like Noah Wyle, or John Cameron Mitchell. They were geeky 19-year-old kids trying to be actors who hadn’t gotten too far. So now, those photos are very interesting because these people who I shot are now more established. I had the negatives and I had the little Polaroid print, which is not as detailed. I was trying different things, and I arrived at this way to print which was on a “comp maker color printer” which would print a little bit sepia, but acheive all the nuances and the grey areas that were being missed by the black and white print. I was in the process of making a book with Twin Palms. I was trying to make good prints for this book they were curating. I was making color prints for that reason; I used some of these prints for the show.
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You do interviews, too, and you have interviewed quite a few people. You even interviewed Zac Efron from High School Musical. How did that come about? They asked! I knew the people at Interview, so sometimes they’d ask me to do interviews. I did James Franco, Madonna and Zac Efron. James Franco I had worked with, but Zac I didn’t really know, but think I had said something good about him in “Variety” or someplace like that. Then Madonna, they just asked and I couldn’t say no! So, you don’t consider yourself an interviewer as well? No, I can do it, but the way I interview people is the same thing you’re doing, I just let them talk. I try and guide them, I mean keep them talking. I think that people want to talk. But I’ve been interviewed a bunch of times where the interviewers have an agenda. They want you to talk just about a certain thing, because they’ve already kind of written the article. So, it can be really stilting, because they can kind of signify that they are not happy with what you are saying. My idea of interviews is that it doesn’t matter what the person is saying, as long as they are saying something and they are excited about it.
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A GUS VAN SANT FILM FESTIVAL
(1989)
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The operative word in Drugstore Cowboy is “drug”. Matt Dillon plays the leader of a group of dopeheads who wander around the country robbing pharmacies to feed their habits. Dillon’s chums include doltish James Le Gros and teen-age junkie Heather Graham; also along for the ride is Dillon’s wife Kelly Lynch. Their nemesis is cop James Remar, whom Dillon takes perverse delight in humiliating. When one of the young addicts dies of an overdose, it promps Dillon to try to go straight, a task complicated by wife Lynch’s determination to stay high and by the corrupting presence of an ex-priest, played by Naked Lunch author William Burroughs. Drugstore Cowboy was director Gus Van Sant’s breakthrough picture.
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RELEASED OCTOBER 6, 1989 102 MINUTES
DIRECTED BY Gus Van Sant WRITTEN BY Gus Van Sant Daniel Yost BASED ON THE NOVEL BY James Fogle STARRING Matt Dillon as Bob Hughes Kelly Lynch as Dianne James LeGros as Rick Heather Graham as Nadine James LeGros as Gentry William Burroughs as Tom the Priest PRODUCED BY Karen Murphy Nick Wechsler MUSIC BY Elliot Goldenthal CINEMATOGRAPHY Robert Yeoman EDITING BY Mary Bauer Curtiss Clayton
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All the actors are used expertly, but it’s Burroughs, cropping up near the end, who articulates the film’s sociopolitical moral in a contemporary context. — Jonathan Rosenbaum, Chicago Reader Though hardly earth-shakingly original, Van Sant’s low-budget movie takes a cool, contemplative and sometimes comic look at American drug-culture. — Geoff Andrew, Time Out The film takes us so deeply into this shabby, transient world that we feel its texture—both its scary thrills and its bleak, fatalistic uncertainty. — Stephen Holden, New York Times The movie stars Matt Dillon, in one of the great recent American movie performances. — Roger Ebert, Chicago Sun-Times
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A GUS VAN SANT FILM FESTIVAL
(1991)
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Gus Van Sant’s dreamtime riff on Shakespeare’s “Henry IV, Parts I and II” features River Phoenix as Mike Waters, a narcoleptic male hustler who is first seen drifting on a stretch of highway in Idaho. Mike shifts from Seattle to Portland, where he has taken up with Scott Favor (Keanu Reeves), who is also a hustler. The difference between them is Mike’s sleepy state betrays an uncertain future, while Scott is ready to inherit a fortune from his father within a week. Mike feels a real affection for Scott, but Scott does not believe men can really love each other. Besides, Scott is mostly hustling as a means of slumming and killing time before he inherits his money. Mike, however, delusionally thinks Scott will continue with his life as a drifter after receiving his inheritance. Mike’s belief is shared by the dregs of Portland, who live out of an abandoned hotel with their spiritual leader Bob (film director William Richert). They’re convinced Scott’s fortune will benefit them all, when in reality Scott has other plans.
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RELEASED SEPTEMBER 29, 1991 102 MINUTES
DIRECTED BY Gus Van Sant WRITTEN BY Gus Van Sant NARRATED BY River Phoenix STARRING River Phoenix as Mike Waters Keanu Reeves as Scott Favor William Richert as Bob Pigeon James Russo as Richard Waters PRODUCED BY Laurie Parker MUSIC BY Bill Stafford CINEMATOGRAPHY John J. Campbell Eric Alan Edwards EDITING BY Curtiss Clayton
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The achievement of this film is that is wants to evoke that state of drifting need, and it does. There is no mechanical plot that has to grind to a Hollywood conclusion, and no contrived test for the heroes to pass. — Roger Ebert, Chicago Sun-Times Van Sant’s cleareyed, unsentimental approach to a plot that pivots on betrayal and death is reflected in magnetic performances from Reeves and Phoenix. — Peter Travers, Rolling Stone The performances, especially by the two young stars, are as surprising as they are sure. Mr. Phoenix (Dogfight) and Mr. Reeves (of the two Bill and Ted comedies) are very fine in what may be the two best roles they’ll find in years. Roles of this density, for young actors, do not come by that often. —Vincent Canby, New York Times The campfire scene in which Mike awkwardly declares his unrequited love for Scott is a marvel of delicacy. In this, and every scene, Phoenix immerses himself so deeply inside his character you almost forget you’ve seen him before: it’s a stunningly sensitive performance, poignant and comic at once. — David Ansen, Newsweek
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(1997)
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Matt Damon and Ben Affleck co-scripted and star in this drama, set in Boston and Cambridge, about rebellious 20-year-old MIT janitor Will Hunting (Damon), gifted with a photographic memory, who hangs out with his South Boston bar buddies, his best friend Chuckie (Affleck), and his affluent British girlfriend Skylar (Minnie Driver). After MIT professor Lambeau (Stellan Skarsgard) stumps students with a challenging math formula on a hallway blackboard, Will anonymously leaves the correct solution, prompting Lambeau to track the elusive young genius. As Will’s problems with the police escalate, Lambeau offers an out, but with two conditions -- visits to a therapist and weekly math sessions. Will agrees to the latter but refuses to cooperate with a succession of therapists. Lambeau then contacts his former classmate, therapist Sean McGuire (Robin Williams), an instructor at Bunker Hill Community College. Both are equally stubborn, but Will is finally forced to deal with both his past and his future.
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RELEASED DECEMBER 5, 1997 126 MINUTES
DIRECTED BY Gus Van Sant WRITTEN BY Ben Affleck Matt Damon STARRING Matt Damon as Will Hunting Robin Williams as Sean Maguire Ben Affleck as Chuckie Sullivan Stellan Skarsgård as Professor Gerald Lambeau Minnie Driver as Skylar PRODUCED BY Lawrence Bender MUSIC BY Danny Elfman CINEMATOGRAPHY Jean-Yves Escoffier EDITING BY Pietro Scalia
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Towering performance by Matt Damon as a troubled working class who needs to address his creative genius elevates this drama way above its therapeutic approach, resulting in a zeitgeist film that may touch chord with young viewers the way The Graduate did. — Emanuel Levy, Variety The film works as a character-driven narrative because Mr. Van Sant and his co-screenwriters are not afraid to unlock the psychological mysteries of their five major characters with clear and concise dialogue. —Andrew Sarris, New York Observer Almost any viewer will enjoy Good Will Hunting moment by moment, but many will wake the next morning wondering why, with all that talent on hand, it amounts to so little in the end. —Andrew O’Hehir, Salon.com The outcome of the movie is fairly predictable; so is the whole story, really. It’s the individual moments, not the payoff, that make it so effective. — Roger Ebert, Chicago Sun-Times
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(2000)
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In the spirit of his Oscar-winning Good Will Hunting, Gus Van Sant directs this tale of the unlikely bond that develops between an aging, reclusive novelist named Forrester (Sean Connery) -- who hasn’t written anything since winning a Pulitzer Prize decades earlier -- and Jamal (Rob Brown), a 16-year-old with a hidden desire to be a writer. When Jamal is cited for his athleticism in basketball by an elite Manhattan prep school, he is forced to adapt to an environment far from his South Bronx upbringing, and a small mishap leads him to the eccentric, uneasy Forrester. After their initial apprehension of each other, they begin to fuel each other’s fire for writing, and become unlikely friends despite their ages and backgrounds. Forrester’s devotion to Jamal becomes enhanced when he must defend allegations of plagiarism enforced by Professor Crawford (F. Murray Abraham), jeopardizing Jamal’s future. The film also features Anna Paquin, Busta Rhymes, and Zane Copeland, Jr..
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RELEASED DECEMBER 22, 2000 136 MINUTES
DIRECTED BY Gus Van Sant WRITTEN BY Mike Rich STARRING Sean Connery as William Forrester Rob Brown as Jamal Wallace F. Murray Abraham as Professor Robert Crawford Anna Paquin as Claire Spence PRODUCED BY Sean Connery Laurence Mark Rhonda Tollefson CINEMATOGRAPHY Harris Savides EDITING BY Valdís Óskarsdóttir
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A rewarding exploration of the knotty and often contentious relationship between teacher and protege. Its chief pleasure is the master class in the art of acting delivered by Sean Connery. — Desmond Ryan, Philadelphia Inquirer When the movie conveys the light in a student’s eyes, and those of his teacher, at the moment when knowledge has been shared, it’s a story that can never be told often enough. — Lisa Schwarzbaum, Entertainment Weekly Connery gives an energetic (if not especially subtle) and mostly convincing performance, and enjoys remarkable chemistry with terrific first-time actor Rob Brown. — Jonathan Foreman, New York Post When either or both [Connery and Brown] are on screen, you can almost forget that these entertaining performances serve such a pat, predictable story — Kirk Honeycutt, Hollywood Reporter
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(2003)
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Director Gus Van Sant returned to the low-key style of his early independent efforts with this semi-improvised exploration of how violence makes its way into a typical American high school. Eric (Eric Deulen) and Alex (Alex Frost) are two close friends who are students in a well-to-do suburb of Portland, OR. Eric and Alex are at once ordinary and misfits; while they seem to be confined to the edges of the clique-oriented social strata of high school, little about their behavior draws attention to itself. Or at least not during a typical school day; on their own time, the two boys are fascinated by Nazi iconography, enjoy violent video games, tentatively explore homoerotic desires, and coolly begin to make plans for an armed ambush of the school, drawing up working diagrams of the lunch room during study hall and buying rifles over the Internet. Drawing an expected degree of controversy, Elephant had its world premiere when it was screened in competition at the 2003 Cannes Film Festival, where it won both Best Director for Van Sant and the Golden Palm award.
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RELEASED OCTOBER 24, 2003 81 MINUTES
DIRECTED BY Gus Van Sant WRITTEN BY Gus Van Sant STARRING Alex Frost as Alex Eric Deulen as Eric John Robinson as John PRODUCED BY Dany Wolf CINEMATOGRAPHY Harris Savides EDITING BY Gus Van Sant
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Gus Van Sant’s fascinating, mysterious, semidocumentary meditation on the Columbine massacre is not very satisfying, but it’s still something to see. — David Denby, New Yorker The approach is oddly riveting, though, because the tension builds slowly, and you know what’s going to happen at the end of the day. — Christy Lemire, Associated Press Van Sant, whose films often connect, sensitively, with the thinking of young people, has made a film that says things are wrong with kids today. We’re missing the obvious. — Roger Moore, Orlando Sentinel While most of the characters are little more than sketches, Van Sant and his collection of young, mostly inexperienced actors make them recognizable and genuine. — John Hartl, Seattle Times
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(2008)
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A teenage skateboarder has a run-in with a security guard that results in the man’s death. Confused, fearful, and evasive, the teen wanders the streets of Portland as his life takes a turn for the worse in director Gus Van Sant’s screen adaptation of author Blake Nelson’s grim coming-of-age tome. Alex (Gabe Nevins) is a withdrawn 16-year-old boy who has recently discovered Paranoid Park -- a massive skate park in Portland, OR. The Portland skate punks built Paranoid Park so they could have a place to cruise the concrete without being hassled by the cops. One day, after befriending a local skater and anarchist at the park, Alex decides that a little adventure might be just the thing to help him forget about his problems back home. When Alex and his new friend attempt to hop a train and a security guard gives chase, tragedy strikes so quickly that the two teens are barely able to comprehend what has just happened. In the aftermath of the fatal accident, one man is robbed of life and two teens are left to ponder the consequences of their youthful recklessness. Alex doesn’t think that anyone will believe him if he explains how events really unfolded that night, but why would anyone have cause to think he wasn’t telling the truth in the first place? As the police launch an investigation into the death and Alex begins to express himself in a deeply personal diary, the audience is able to experience the pain and confusion of adolescence from the perspective of a young boy who was only seeking to escape from reality when suddenly confronted by the concept of mortality.
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RELEASED MARCH 7, 2008 84 MINUTES
DIRECTED BY Gus Van Sant WRITTEN BY Gus Van Sant BASED ON THE NOVEL BY Blake Nelson STARRING Gabe Nevins as Alex Daniel Liu as Detective Richard Lu Jake Miller as Jared Taylor Momsen as Jennifer Lauren McKinney as Macy PRODUCED BY David Allen Cress Neil Kopp CINEMATOGRAPHY Christopher Doyle Rain Kathy Li EDITING BY Gus Van Sant
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Even something as modest as Paranoid Park manages to reflect Van Sant’s greatest strengths as an artist: his seemingly limitless fluency with his chosen medium and his willingness to tell even the oldest stories in bold new ways. —Ann Hornaday, Washington Post Paranoid Park has the slightly glum insularity of minimalist fiction, but it’s the first of Van Sant’s blitzed-generation films in which a young man wakes up instead of shutting down. — Owen Gleiberman, Entertainment Weekly Paranoid Park is a supernaturally perfect fusion of Van Sant’s current conceptual-art-project head-trip aesthetic and Blake Nelson’s finely tuned first-person ‘young adult’ novel. — David Edelstein, New York Magazine Through immaculate use of picture, sound and time, the director adds another panel to his series of pictures about disaffected, disconnected youth. —Todd McCarthy, Variety
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THIS FILM FESTIVAL WILL TAKE PLACE IN PORTLAND OREGON, THE CITY THAT IS HOME TO GUS VAN SANT, AND THE CITY WHERE MOST OF HIS FILMS WERE SHOT.
The event will open exclusively at the Performing Arts Center of the Portland Community College’s Sylvania Campus, located at 12000 SW 49th Ave in Portland, Oregon. Portland Community College is the largest community college in the state of Oregon. It is a comfortable modern venue within an equally attractive campus. The choice of this venue signifies the main theme of Gus Van Sant films: young people struggling in life and not serious about the future find the way to success through encouragement of people who care.
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THE FILM FESTIVAL WILL RUN FROM FRIDAY, JULY 24, 2015 THROUGH SUNDAY, JULY 26, 2015. IT IS SURE TO BECOME AN EAGERLY-AWAITED EVENT OF THE ANNUAL CINEMA CALENDAR.
5 PM
Welcome to It’s Not Your Fault Film Festival
6 PM
Dinner
8 PM
Photo Exhibition
10 PM
Cocktail Party
11 AM
Film Screening: Drugstore Cowboy
3 PM
Film Screening: My Own Private Idaho
6 PM
Film Screening: Good Will Hunting
10 PM
Cocktail Party
11 PM
Film Screening: Finding Forrester
3 PM
Film Screening: Elephant
6 PM
Film Screening: Paranoid Park
10 PM
Farewell
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THE GUS VAN SANT PHOTOGRAPHY EXHIBITION WILL TAKE PLACE AT THE TECHNOLOGY CLASSROOM BUILDING OF THE PORTLAND COMMUNITY COLLEGE’S SYLVANIA CAMPUS.
For the first time ever, this exhibition will display the film director’s collection of portrait-photographs. Every subject is photographed in exactly the same way: A frontal pose, taken at a medium-shot angle, with minimal lighting, thereby bringing out both the chiaroscuro effect of light and shadow and the expressiveness of his subjects’ faces and bodies. Gus Van Sant began taking photographs for the auditions of “Drugstore Cowboy” and “My Own Private Idaho”. The casual picture-taking quickly developed into a full-fledged project, encompassing a Who’s Who of the 20th century and capturing the exuberance and hedonism of a decade. The exhibition event will take place on July 24th, coincidental with Gus Van Sant’s birthday. This will be a perfect birthday gift for a well-known artist and film director.
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WE UNDERSTAND HOW IMPORTANT IT IS FOR OUR TRAVELING GUESTS TO MAKE SURE THAT GOOD AND AFFORDABLE FOOD IS JUST AROUND THE CORNER. FOR YOUR CONVENIENCE, WE PROVIDE A LIST OF PLACES TO EAT IN THE AREA, WHICH INCLUDES SOME FAMOUS DINERS IN PORTLAND.
BLUEPLATE 308 Washington St BYWAYS CAFE 1212 Glisan St DIANE’S RESTAURANT 5052 Foster Rd FULLER’S COFFEE SHOP 136 9th Ave O’CONNOR’S 7850 Capitol Highway ORIGINAL HOTCAKE HOUSE 1002 Powell Blvd OVERLOOK RESTAURANT 1332 Skidmore St SCKAVONE’S 4100 Division St
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ARTICLES Marx, Rebecca Flint. Gus Van Sant. New York Times. Retrieved from http://www.nytimes.com/movies/person/1548269/Gus-van-Sant/biography Blank, Joshua. (2011, April 26). An Interview with Gus Van Sant. Juxtapoz. Retrieved from http://www.juxtapoz.com/current/an-interview-with-gus-van-sant Gus Van Sant Awards. Starpulse. Retrieved from http://www.starpulse.com/Actors/Van_Sant,_Gus/Awards/ Drugstore Cowboy. IMDB. Retrieved from http://www.imdb.com/title/tt0097240/ My Own Private Idaho. IMDB. Retrieved from http://www.imdb.com/title/tt0102494/ Good Will Hunting. IMDB. Retrieved from http://www.imdb.com/title/tt0119217/ Finding Forrester. IMDB. Retrieved from http://www.imdb.com/title/tt0181536/ Elephant. IMDB. Retrieved from http://www.imdb.com/title/tt0363589/ Paranoid Park. IMDB. Retrieved from http://www.imdb.com/title/tt0842929/ Erickson, Hal. Drugstore Cowboy. Rotten Tomatoes. Retrieved from http://www.rottentomatoes.com/m/drugstore_cowboy/
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Brenner, Paul. My Own Private Idaho. Rotten Tomatoes. Retrieved from http://www.rottentomatoes.com/m/my_own_private_idaho/ Stewart, Bhob. Good Will Hunting. Rotten Tomatoes. Retrieved from http://www.rottentomatoes.com/m/good_will_hunting/ Clark, Jason. Finding Forrester. Rotten Tomatoes. Retrieved from http://www.rottentomatoes.com/m/finding_forrester/ Deming, Mark. Elephant. Rotten Tomatoes. Retrieved from http://www.rottentomatoes.com/m/elephant/ Buchanan, Jason. Paranoid Park. Rotten Tomatoes. Retrieved from http://www.rottentomatoes.com/m/paranoid_park/
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6-7 Gabriel Pasman 8 Gabriel Pasman 11 Retrieved from http://www.lgbthistorymonth.com/gus-van-sant?tab=multimedia 12 Gabriel Pasman 14 Retrieved from http://www.elitismstyle.com/blogazine/archives/6945 15 Retrieved from http://derekwinnert.com/wp-content/uploads/2013/11/164.jpg 17 Retrieved from http://miramax.tumblr.com/post/25462766965/click-here-to-read-more-about-gus-van-santsnew 18 Retrieved from http://www.ign.com/articles/2003/10/23/an-interview-with-gus-van-sant 21 Retrieved from http://www.focusfeatures.com/splashpage/gus_van_sant?film=promised_land 22 Retrieved from http://filmexperience.blogspot.com/2009/12/directors-of-decade-gus-van-sant.html 26 Gabriel Pasman 29 Retrieved from http://www.findeseance.com/Gerry-ou-le-corps-Deleuzien-de-Gus 30 Retrieved from http://www.moviemail.com/film/blu-ray/Elephant/?utm_expid=298190-9.IWIJnsi-RxOq8CQswSJnVg.0&utm_referrer=http%3A%2F%2Fwww.google.com%2Furl%3Fsa%3Di%26rct%3Dj%26q%3Delephant%2Bgus%2Bvan%2Bsant%26source%3Dimages%26cd%3D%26docid%3DtzllX1zVo6wsHM%26tbnid%3DLf2_61lspBRubM%3A%26ved%3D0CAEQ jxw%26url%3Dhttp%253A%252F%252Fwww. moviemail.com%252Ffilm%252Fblu-ray%252FElephant%252F%26ei%3Dt1JpU4i5M4__oQSJo4CYDg%26bvm%3Dbv.66111022%2Cd.cGU%26psig%3DAFQ jCNEFfy38W-DxwYl82t4hZ4QhrsdpQw%26ust%3D1399497768145499 32 Retrieved from https://www.youtube.com/watch?v=jjzmk4kPkqo 34 Retrieved from http://www.movies.com/movie-news/you39re-old-gus-van-sant39s-39psycho39-came-out-15years-ago-this-week/14308 36 Retrieved from http://www.miramax.com/subscript/quiz-how-well-do-you-know-good-will-hunting 38-39 Gabriel Pasman 41 Retrieved from http://www.rouvre.com/en/gallery/11/mulholland-cannes/280 42-43 Gabriel Pasman 44 Gabriel Pasman 45 Retrieved from http://lesfilmsdemavie--grahamguit.blogspot.com/2013/11/montage-drugstore-cowboy-1989. html 46-47 Retrieved from http://pantalladesombras.wordpress.com/2013/10/23/drugstore-cowboy-1989-gus-vansant-2/
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BOOK AND COVER DESIGNED BY Gabriel Pasman BINDING BY Gabriel Pasman TYPEFACES Adobe Caslon Univers PAPER Entrada Rag Natural 190 COURSE Integrated Communications Academy of Art University Spring 2014 INSTRUCTOR Hunter Wimmer