Ira Sachs Quotes
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I try to keep feeling what's going on and try to use the camera, the actors and the design to enhance those feelings. There's something really emotionally direct and honest about how I put the material with the images. You hope that the strength of mise-en-scene comes from an honesty towards the material. You also hire really well.
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I actually feel that all drama has an element of comedy in it. A great deal of that I learned from writers like Chekhov who called his plays his comedy even when they touch on tragedy.
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As a father, I wanted to make a movie that my kids can love.
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The praise helps on a deep level, which gives you the grounding that encourages you to trust yourself. On another level, each film is a risk, and the praise doesn't save you from that risk.
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I have a career now, and I have to say, five years ago I didn't. I'm 50, and you never know what works, but I think part of that is because - in this way that can't be defined but which can be examined - we cannot work alone.
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Everything encourages you not to tell stories of gay lives. There is no economy yet for that kind of cinema.
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I make films that are very personal, and I always have. It's kind of the only thing that I think I have to offer as a filmmaker: the intimacy I've had with experience in a particular world, so the film comes from things I've seen and things I've felt. It gets transformed by the process. I don't think I'd ever start making a film until I had both the intimacy with the subject and the distance to make it live in a certain way.
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To me, honesty and the difficulty of honest communication are at the heart of both my life and my movies. The difficulty of being yourself.
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For me, an actor is really, first and foremost, a person and an individual, more than they are an actor or a professional.
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To be a creative person and be a professional, as an artist you have to be able to withstand pain, rejection, and for some, a lot of bad feelings, but you have to be able to look through those.
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I try not to articulate ideas in the film once I've arrived on the plot and the characters. I believe that if I focus my attention with enough compassion and heart on those things, then other things will be revealed, and that's from the education that I've had from the novel.
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You are always factoring in the economy within the process of creating something, and making decisions that seem both fearless and full of fear.
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I love a certain kind of acting style that I would call non-American, which tends to be more detail-oriented and less externalized. There's a kind of naturalism that I often find in non-American actors. I also find that quality in the American actors I work with, but I like to bring in those influences creatively.
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People, for reasons of kind of security, they tend to move towards people like themselves.
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I think I tend to feel discomfort more when I anticipate or arrive upon moments in which I need to be careful. As a gay person, there's the fear of violence, and we're not making that up.
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I've worked with non-professional actors, I've worked with movie stars, I've worked with kids, I've worked with older people, and I've found my job as a director is to cast them well and to understand what they need on set to bring the material to life.
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I think as a gay person, there was no way in my generation to not grow up with shame and a sense of being wrong. It was impossible to avoid. Externally, you might make choices that are very public and very open but internally that was a struggle.
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To come to change, there had to be conflict and pain.
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I think parenting well is not so different than trying to consider how to be successful at any relationship. Like, how do you partner well? How do you collaborate well? How do we have this conversation well? You know, you're always trying to figure out what "well" means, so I think parenting is another version of that.
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I tend not to think that anything I happen to be reporting on in my films is special. Meaning that people are always saying to me, 'you must love New York, you have it in all your films.' But mostly it's because I know New York, and I know Brooklyn at this time. I know the lives there, because I have lived in them.
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The questions of economics, and how they infect, or rather how they affect intimacy. And that's probably the subject of all my films.
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I'm a version of the same person.
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All history is defined by shifting modes of reality and time and how things change. That’s what I love about cinema. It changes in the moment.
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When working on and writing a film, I'm often more of a sponge than other times, aware of what's going on around me.
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I'm someone who can create critiques of individuals based on their economic history. That's one way I look at people in terms of one story that could be told purely in a Marxist construction.
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So there's a choice that I made to tell stories that are still psychological melodramas about domestic issues. The challenge is to figure out how to make 10 films a career as a filmmaker, and that's a really challenging thing.
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My early films were about self discovery, and films of internal conflict. At that level, they were very personal.
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I can be incredibly angry with someone, I can be incredibly critical, but... I went through a period where I was reading a lot of memoirs of guards in holocausts and serial killers. I like to understand why people do bad things.
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There was an age in which it was clear to me that my parents weren't perfect, but then there was an age at which I had empathy for that. And that was through therapy, probably. You have to rebuild and you also have to grow in your understanding of whatever it is your parents are facing, and that takes a major, profound shift of perspective from being a child.
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I do love the young adult novels as a form and genre, because it has a purity of intention and heart.
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