Best 26 quotes of Ira Sachs on MyQuotes

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.

Everything encourages you not to tell stories of gay lives. There is no economy yet for that kind of cinema.

I actually feel that all drama has an element of comedy in it. A great deal of that I learned from writers like Chekhov who called his plays his comedy even when they touch on tragedy.

I can be incredibly angry with someone, I can be incredibly critical, but... I went through a period where I was reading a lot of memoirs of guards in holocausts and serial killers. I like to understand why people do bad things.

I do love the young adult novels as a form and genre, because it has a purity of intention and heart.

I love a certain kind of acting style that I would call non-American, which tends to be more detail-oriented and less externalized. There's a kind of naturalism that I often find in non-American actors. I also find that quality in the American actors I work with, but I like to bring in those influences creatively.

I make films that are very personal, and I always have. It's kind of the only thing that I think I have to offer as a filmmaker: the intimacy I've had with experience in a particular world, so the film comes from things I've seen and things I've felt. It gets transformed by the process. 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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

My early films were about self discovery, and films of internal conflict. At that level, they were very personal.

So there's a choice that I made to tell stories that are still psychological melodramas about domestic issues. The challenge is to figure out how to make 10 films a career as a filmmaker, and that's a really challenging thing.

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.

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.

The questions of economics, and how they infect, or rather how they affect intimacy. And that's probably the subject of all my films.

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.

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.

Utopia is something that I think about in connection to an experience I had when I was a kid.

When working on and writing a film, I'm often more of a sponge than other times, aware of what's going on around me.

You are always factoring in the economy within the process of creating something, and making decisions that seem both fearless and full of fear.