Zitat des Tages von Ira Sachs:
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.
I think there's a fear of difference in American cinema.
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.'
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.
By 1988, I was living in New York myself.
Intimacy is something to be cherished, and intimacy is not something to be afraid of.
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.
It's easy to make a film, but it's hard to make a career of being a filmmaker.
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.
I have been very influenced by the director Maurice Pialat, who I continue to be in conversation and conflict with and get inspiration from.
I've been hiding crucial events in my life since I was 13.
I got into filmmaking in order to tell very personal stories, and in this day and age, the opportunity seems all the more precious.
For gay people, we learned about our lives in secrecy and a lot of fear.
I realize I have strength as an artist and professional by embracing my difference instead of what makes me the same.
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.
A lot of what I think I do as a director is try to give everything over to the actor. So I disappear.
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.
Without community events like NewFest, I don't think we'd have a queer cinema in America.
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.
You can understand why good publicists go on to run distribution companies: because the creativity involved is complex and nuanced.
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.
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.
Being an artist is in part an act of rupture.
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.
There's a lot of things lost in the Digital Age.
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.
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.
Why do people stay in relationships that are tough from almost the very beginning?
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.
