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Most simply but profoundly, I chose to live an honest life, which I think as a gay person is not a given.
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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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Without community events like NewFest, I don't think we'd have a queer cinema in America.
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I always hope that people feel less alone when they see a movie that I make. That some part of the story played out on the big screen will resonate for individuals in the audience in a way that gives them comfort.
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I grew up in the 1960s in Memphis, and my father was a member of the American Civil Liberties Union. I was born three years before Martin Luther King was killed, and I think that history of civil action was something that I had in my blood.
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By 15, I was lucky enough to find the theater.
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I have been very influenced by the director Maurice Pialat, who I continue to be in conversation and conflict with and get inspiration from.
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For me, every film is actually a form of documentary.
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What's interesting to me is the distinction between my old life and my present life.
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'How to Survive a Plague' is history-telling at its best. It's a film I'll show my two children, now toddlers, when they are old enough to understand. It's a movie that I cannot forget.
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As a filmmaker, you realize that places have character based on their history as much as a face does or an actor does.
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Suspense films are often based on communication problems, and that affects all of the plot points. It almost gives it kind of a fable feeling.
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My films might have been queer - because I was - but they were not gay.
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I'm not interested in a film about deceit anymore. I think I was always invested in deceit on some level. But it no longer compels me the way it did for so many years.