From taking risks to scrapping scripts: the acclaimed director reflects on nearly four decades of movie-making
. What was it like working with such an influential, countercultural figure?
GVS: Well, Burroughs had been away and then he came back to New York in the mid-70s and he was seeing something of a revival. There was a lot of interest inat the time. Some friends of mine were talking about it, and that was when I first learned about him and how he appeared in a number of the Kerouac books. So, I was in New York at one point and I looked in the phonebook in 1975, and he was there. His address was there as well. William S. Burroughs.
Kelly Lynch and James LeGros were in communication with the real people who appeared in the original book, so they were getting all of this information that wasn’t in the original screenplay or the book. We tried to incorporate these things into the film, and I liked that a lot better. When you don’t have a script, all of a sudden your speech patterns become natural. You’re going forward without a flashlight.
was the first film where I didn’t have a script at all, and we didn’t have much dialogue in that film either. was done in a similar way where the script was maybe about 15 pages of descriptions of what the scene was supposed to be and then everything else, if there was dialogue, became an addition to it.
“At this point in our cinema history, a documentary has as much fake stuff as a dramatic film, and a dramatic film has as much real stuff as a documentary” – Gus Van Sant, which was the film that won you the Palme d’Or, is described in the book as your most constantly relevant film. Why do you think that is?and that became one of these mega-journalist stories, much like the death of Kurt Cobain, which was the film I did after.
Belgique Dernières Nouvelles, Belgique Actualités
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