Ira Sachs Quotes
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Fighting bitterness can be a full-time job.
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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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Why do people stay in relationships that are tough from almost the very beginning?
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I always think of my films within the context of where aesthetics meet economics. That's the nature of making art - not being naive about what is possible and getting what you need to tell the story you want to tell.
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It's easy to make a film, but it's hard to make a career of being a filmmaker.
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I think it's interesting: What is the generational effect of the experience of being a gay person in America? For my generation, it was very difficult.
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Being an artist is in part an act of rupture.
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I could not - and I still cannot - see a sustainable career as a filmmaker in which I focus fully on our gay stories.
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Every film is hard to fund.
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You can be aware of the passing of time without being nostalgic.
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I've been close to two or three couples, gay and straight, who have been together for 45 years.
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Capturing intimacy is pretty much the only thing I'm interested in. That's what excites me and what I find beautiful in movies personally – that almost obscene sense that we shouldn't be this close to these people. I find that very inviting and meaningful as an audience member.
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I think there's a fear of difference in American cinema.
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I've made four films about the destructive nature of relationships, of secrets and lies, and I think I'm no longer interested in that subject - which is a wonderful relief.
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Movies are romantic fantasies.
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Secrets make for good drama, and revealing the hidden truths and contradictions of life is, for me, one of the most exciting aspects of making movies.
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I've been hiding crucial events in my life since I was 13.
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What I loved about 'Goodfellas' is that it's a film about bad behavior - but told with great energy and without judgment - but it doesn't actually shy away from the consequences of that behavior in the characters' lives, which I think is similar in 'Keep the Lights On.'
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I got into filmmaking in order to tell very personal stories, and in this day and age, the opportunity seems all the more precious.
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I don't rehearse with my actors... the first rehearsal is the first time we turn the camera on... Sydney Pollack never rehearsed his actors, and I found out that's allowed... so you film reactions; you don't create them.
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By 1988, I was living in New York myself.
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A lot of what I think I do as a director is try to give everything over to the actor. So I disappear.
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I like a film that makes the audience feel like they are in the middle of life as it is moving, and in a way, they are catching up. They are thrown into things.
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Everyone wants to belong, and everyone needs to belong in order to make a career on some level.