From Publishers Weekly
This biography of director Van Sant (My Own Private Idaho; Good Will Hunting) is so crammed with details that it's a veritable encyclopedia of everything you ever wanted to know about the artist's life and career. Van Sant grew up in an upper-middle-class family in Connecticut and Portland, Ore., and attended Rhode Island School of Design. After working in smalltime filmmaking, songwriting, advertising and the garment business, he hit it big on the indie film circuit with Male Noche, a film about Portland's demimode of male hustling. Unlike most independent filmmakers, Van Sant landed gigs in Hollywood, first with Drugstore Cowboy and then with studio films like To Die For and Finding Forester, making him one of today's more successful directors. Drawing on published interviews with Van Sant, film reviews and interviews with his subject's family and friends, Parish charts Van Sant's life in particulars ranging from the mundane (his home address while growing up) to the spicy (rumors that he was sexually interested in River Phoenix while shooting My Own Private Idaho). While there is very little new material or in-depth analysis, Parish does document fascinating tidbits such as Van Sant's views on how gay directors have an artistic edge in filming heterosexual love scenes and the Village Voice's comment that Van Sant's loving camera angles of Matt Damon in Good Will Hunting nearly amounted to "boy porn." Certainly not the last critical word on Van Sant, this biography is a good introduction and will be the basis for future work. Agent, Stuart Bernstein.
Copyright 2002 Cahners Business Information, Inc.
From Library Journal
The author of many books on film and the performing arts, Parish here covers the life and creations of painter, musician, and independent iconoclastic filmmaker Gus Van Sant, best known for films like Drugstore Cowboy and Good Will Hunting. Parish exercises a rhythmic pacing throughout the book, which begins with Van Sant's childhood in an affluent yet nomadic family. He goes on to offer insight into why the director chooses to examine those who have no role in the American dream and what artistic contributions he has made to each film. Writing chronologically, with the freedom of backstitching, Parish describes the filmmaker's experiences with the motion picture industry its critics and actors; the stories behind casting; the shooting, editing, and marketing; and the garnered awards. Parish's writing clearly reflects Van Sant's nonconformist inspirations and determination to live and work outside of Hollywood's perimeters by offering the reader a voyeuristic familiarity with Van Sant's professional and personal life from birth to the present. Based on research and interviews with family members, this first biography of an important director is recommended to aspiring filmmakers, lovers of biographies, and those interested in the entertainment industry at both public and academic libraries. Elizabeth Stifter, Brooklyn, NY
Copyright 2002 Cahners Business Information, Inc.
Copyright 2002 Cahners Business Information, Inc.
