Gus Van Sant, a director known for his profound fascination with real-life events and human behavior, has made a significant return to theatrical filmmaking after a seven-year hiatus with his latest work, “Dead Man’s Wire.” Premiering at the AFI Film Festival, the film marks a powerful resurgence, echoing the restless energy of his early masterpieces while showcasing a refined maturity in tone and control. Van Sant, at 73, continues to be driven by a curiosity for what compels people to act as they do, stating that many of his films, even unintentionally, are rooted in reality.

“Dead Man’s Wire” is a historical true-crime drama based on the notorious 1977 Tony Kiritsis hostage case. Van Sant recalls being immediately captivated by the script, which included links to real 911 calls, revealing Kiritsis as a fast-talking, jocular, yet temperamental character. The film, described as a pressure cooker of desperation and spectacle, was conceived with an urgent, almost spontaneous energy, with Van Sant agreeing to start shooting in Louisville within two months—a prospect he found appealing for its impromptu, road-trip-like quality.

Van Sant’s filmography consistently reflects his interest in real-life narratives and the psychological underpinnings of crime, not as a mere “true crime” genre, but as an exploration of human motivation. From his earlier works like “Drugstore Cowboy,” “Elephant,” and “Last Days,” to critically acclaimed films such as “My Own Private Idaho,” “Good Will Hunting,” and “Milk,” his focus has always remained on the intricacies of human behavior rather than adherence to a single genre. He champions the “accident” as the most compelling aspect of filmmaking, a sentiment he shares with his late collaborator, River Phoenix, who thrived on unexpected moments on set.

The casting for “Dead Man’s Wire” was pivotal. Bill Skarsgård takes on the role of Tony Kiritsis, a choice Van Sant had long desired, appreciating Skarsgård’s versatility as an actor capable of embodying a “man of a thousand faces.” Dacre Montgomery, whose “Stranger Things” audition tape had previously impressed Van Sant, was chosen for his unpredictable quality. Colman Domingo rounds out the primary cast as a radio DJ, a character inspired by “The Warriors,” whose presence is noted for grounding the film.

Reflecting on his past, Van Sant discussed the possibility of revisiting the world of “Drugstore Cowboy,” mentioning other screenplays by James Fogle, including “Satan’s Sandbox,” which is set in San Quentin prison. He also spoke at length about River Phoenix, whom he remembers constantly, describing him as a “great collaborator.” Phoenix, known for his spontaneity and love for improvisation, found a unique freedom on Van Sant’s sets that he often lacked in more traditional Hollywood productions. Van Sant shared anecdotes about Phoenix’s unconventional upbringing, including his homeschooling experience that omitted war history and his late discovery of humor and smiles.

Recalling his two Oscar nominations, Van Sant humorously recounted waking up to a barrage of phone calls on nomination mornings, calling the Oscar “the big Hollywood prize.” He also shared a memorable, albeit unpleasant, experience at the “Good Will Hunting” ceremony where he became physically ill from the stage fog used for the “Titanic” set, leading to his enduring personal ban on using fog machines on his own sets.

Addressing the notion of cinema’s “death,” Van Sant vehemently disagrees, asserting that movies continuously evolve with technology, from nickelodeons to iPhones. He believes that the communal experience of gathering to watch films remains paramount, and the art form is simply shifting, entering a new period of discovery similar to the early 20th century. Though it has been some time since his last theatrical release, Van Sant has not been idle, having worked on projects like the Gucci series and six hours of “Feud.” He hopes to release another film soon, revealing that he has hundreds of ideas digitally stored, some of which, like “Milk,” may take decades to come to fruition.