From Flower Vase to Film Emperor in Hollywood

When Gus Van Sant arrived at the high school, it was just past noon. The sunlight lazily sprinkled down, yet it didn't feel scorching at all, with a hint of spring's freshness that hadn't quite dissipated.

It was a good day for filming a movie.

Gus decided to take a short walk, to soak up the sun and organize his thoughts. He was pondering the casting for the "Elephant" project, and slowing down would help clarify the threads in his mind.

Actually, Gus didn't have any particular requirements—

No need to be too pretty or flamboyant, just ordinary, like an average high school student; of course, the prerequisite was not being afraid of the camera, being able to remain natural in front of the lens, and ignoring its presence to be themselves.

That was enough.

However, Gus also knew that this one requirement often stumped most kids. Knowing that the camera was filming them but pretending not to be aware was not an easy thing, which was why Gus was considering using professional actors for the main roles.

He planned to film in a pseudo-documentary style, with authentic everyday school life as the core; but in essence, it was still a drama film. He needed the actors' cooperation, as well as the camera's invisibility—

It couldn't be noticed.

As he thought, his mind wandered.

From the choice of actors to the placement of the camera, to the composition of the shots and the trajectory of movement, and so on.

Spatial positioning is a magical part of film language, the cleaner and simpler the film, the more it tests the director's skill.

How to present the character's position in space, the insignificance of existence in a vast space, or the crowded oppression in a narrow space; how to present the subjective feelings brought by the camera's perspective, the condescending overhead view or the upward-looking view; how to present the relationship between characters in space, intimacy or alienation, confrontation or reliance.

Things like that.

A perspective, a shot.

These often convey the director's ideas; narration is not only accomplished through dialogue and script.

Last time, when filming "Gerry," Gus used one filming method; this time, he planned to use the experience of "Gerry" to try something different, which meant that the position and arrangement of the camera were particularly important.

In the movie "Elephant," the existence of the actors, saying it's not important, it's indeed not important, because there is almost no acting difficulty, just be yourself; but saying it's important, it's also particularly important, how to show the real and natural self in front of the camera, this is the ultimate challenge for every actor.

It was at this moment that Gus noticed the figure on the playground—

A blond boy, quietly sitting on a swing, his body gently swaying with the breeze; his head tilted against the ropes, unable to see the eyebrows and eyes of his face, yet it seemed as if golden sunlight was lightly swirling around him.

A hint of loneliness. A hint of brokenness. A hint of sighing.

Rather than sadness or pain, it was… a kind of contemplation.

He immersed himself in his own world, letting his thoughts extend in the longitudinal and latitudinal depths of the universe, exploring the mysteries of time and space, and digging into the meaning of life.

Film images immediately appeared in Gus's mind.

Involuntarily, Gus lightened his footsteps, like a birdwatcher in a dense forest, carefully hiding his tracks, observing the habits of birds, knowing that he shouldn't get close, but his heart couldn't control its beating.

However.

Gus clumsily stepped on a pebble, his foot slightly slipping, and the peaceful air was broken.

Oops!

Gus: …

He froze in place like a wooden man, staring blankly at the blond boy—

It was him.

It was actually him?

Gus was stunned.

"Hey, director."

Just as Gus was stunned, the blond boy had already taken the initiative to greet him.

Before him was Anson Wood.

The face that had swept across Hollywood in recent times, if someone didn't recognize him, the only explanation would be that they lived in a secluded Shangri-La, completely severing all ties with social networks.

Otherwise, how could they not recognize him?

This was also Gus's biggest worry.

At this moment, Anson was in the midst of his triumphant success, the entire Hollywood might not fit in his eyes, but he was appearing in such a small-budget experimental independent film—

Are you sure?

After HBO gave the proposal, Gus carefully inquired about it.

Finally, Gus's old friend and the producer of "Elephant," Diane Keaton, made the final decision.

"Gus, have you ever thought that when you are speculating and nitpicking him, he nods and agrees to appear, doesn't this thing itself explain something?"

A word awakened the dreamer.

After careful consideration, Gus decided to give Anson and himself a chance.

Before coming to Portland, Gus had imagined countless disastrous situations—

This was his personality, inherently pessimistic, often easily seeing the negative side of things, and always preparing for death.

In Gus's films, you can often see his thoughts on life and the world, from "Gerry" to "Elephant," which can be seen as Gus's reflection on death.

However, but, none of the situations Gus imagined happened.

No reporters, no fans, no entourages.

No agent, not even an assistant.

Anson sat alone on the swing, gently swaying like duckweed, no different from other students, just another ordinary afternoon.

…Just this?

Rarely, Gus froze in place, his brain completely unable to keep up with his thoughts.

But the wonderful thing was that at this moment, Gus remembered one thing:

Anson should be very photogenic.

There are actors who have a unique temperament, as long as they appear in the lens, appear on the big screen, the atmosphere of the whole scene will naturally change slightly, making people can't help but want to explore in detail.

In Gus's impression, Anson was handsome, for God's sake, the overwhelming news all praised Anson's handsomeness and grace; but Gus had never seen this temperament of Anson—

Perhaps, "The Princess Diaries" and "Spider-Man" did not capture this temperament of Anson?

Gus thought, the feeling of Anson appearing in the lens must be very special.

With thousands of thoughts, the first sentence that Gus blurted out was—

"Hair, your hair!"

Anson had golden-brown short hair, usually close to brown, but would show a light golden color under the sunlight; however, before him, Anson had a bright and dazzling light golden hair.

What's going on?

There was too much information, and Gus was a little overwhelmed.