Ira Sachs Quotes
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I started making movies in the early '90s, a few years after I discovered 'the cinema' during a three month stay in Paris during which I watched 100s of films.
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I conveniently was not accepted to film school, which I applied to in 1987, and so I decided I would become a filmmaker instead of a student.
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For gay people, we learned about our lives in secrecy and a lot of fear.
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Music Box has proven itself in a few short years to be a cutting edge distributor with a sophisticated understanding of both the market and cinema.
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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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You can understand why good publicists go on to run distribution companies: because the creativity involved is complex and nuanced.
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You can only begin to share life well when you think well of yourself.
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Intimacy is something to be cherished, and intimacy is not something to be afraid of.
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As independent filmmakers, we are actually deeply dependent on each other. The Spirit Awards are a public expression of those bonds, the intricate set of relationships and histories that we filmmakers depend on to make our most personal work.
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My father moved out to Park City in in the mid-'70s and lived in a Winnebago behind a hippie joint called Utah Coal & Lumber that was one of only two or three restaurants at that time. Park City was a sleepy little mining town, with not a condo in sight.
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There's a lot of things lost in the Digital Age.
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I find the stuff that is exciting to me are the films coming out of Taiwan and Iran and France. So I have the feeling I'm not making the films that American distributors want to make.
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New York grabbed me too hard, as did adulthood.
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Every time you make a film, you create a world. You make decisions about sets and costumes, and you create a universe connected to reality, but not reality itself.
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One of the biggest things that happens to many people when they have kids is that you suddenly realize that you're not going to last forever. You know there is another generation who are the heroes of their own stories, and that is humbling.
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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 grew up thinking there was something called 'independent film,' which I wouldn't necessarily have had access to if there wasn't Sundance.
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I've always been interested in how the individual comes to know and accept him or herself, which I think has been hard for me.
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I remember being a teenager and seeing Seymour Cassel across a crowded room and being incredibly star struck, and not having the courage to say, 'Hello.'
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All of my films have been autobiographical - it's all I've got to go on.
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Seeing the road show of 'A Chorus Line' in 1977 at the Orpheum Theater in downtown Memphis was a life-changing event for me: there were gay people, on the stage, and they all lived in New York.
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I realize I have strength as an artist and professional by embracing my difference instead of what makes me the same.
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As I've gotten less righteous, less pedagogic, I have become more loving of the artificiality, the art form, the imitation of life in film.
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I came to N.Y.C. in 1988 and got very involved with Act Up. I also started making movies, including two very gay shorts, 'Vaudeville' and 'Lady.' It was the height of the AIDS epidemic, and New York City was both dying and very alive at the same time.