Quote

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.

Ira Sachs

Change background

T
T
T

Change font

TAGS & TOPICS

Ira Sachs
Age: 59
Born: 1965
Born: November 21
Film Director
Film Producer
Filmmaker
Screenwriter
Writer
Memphis
Tennessee
Well
Actors
Material
Enhance
Trying
Hope
Materials
Hire
Going
Use
Direct
Emotionally
Something
Comes
Scene
Images
Really
Feelings
Design
Camera
Keep
Strength
Cameras
Also
Honest
Honesty
Wells
Feeling
Towards
Mise

More quotes by Ira Sachs

Image
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.
Ira Sachs
Image
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.
Ira Sachs
Image
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.
Ira Sachs
Image
To come to change, there had to be conflict and pain.
Ira Sachs
Image
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.
Ira Sachs
Image
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.
Ira Sachs
Image
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.
Ira Sachs
Image
The big change that's happened for me in terms of my own life and how outsidership is reflected in my work is that I used to feel extraordinarily isolated in my life as I was trying to figure out who I was and how to have intimate relationships. And so my central characters also were isolated and usually in quite a bit of pain.
Ira Sachs
Image
By 1988, I was living in New York myself.
Ira Sachs
Image
I think my movie addresses the struggles of communities facing class distinctions, which are timeless. The questions of how we live together and what we do for money are really the stuff of drama.
Ira Sachs
Image
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.
Ira Sachs
Image
I'm interested in what actors reveal about themselves through the structure of the character.
Ira Sachs
Image
Everything encourages you not to tell stories of gay lives. There is no economy yet for that kind of cinema.
Ira Sachs
Image
Utopia is something that I think about in connection to an experience I had when I was a kid.
Ira Sachs
Image
I'm a version of the same person.
Ira Sachs
Image
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.
Ira Sachs
Image
You are always factoring in the economy within the process of creating something, and making decisions that seem both fearless and full of fear.
Ira Sachs
Image
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.
Ira Sachs
Image
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.
Ira Sachs