Ira Sachs (born November 21, 1965) is an American filmmaker. His first film was the short, Lady (1993).
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.
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'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.
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.
I have a career now, and I have to say, five years ago I didn't. I'm 50, and you never know what works, but I think part of that is because - in this way that can't be defined but which can be examined - we cannot work alone.
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.
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.
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.
I do love the young adult novels as a form and genre, because it has a purity of intention and heart.
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.
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.
For me, an actor is really, first and foremost, a person and an individual, more than they are an actor or a professional.
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 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.
You are always factoring in the economy within the process of creating something, and making decisions that seem both fearless and full of fear.
I'm a version of the same person.
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.
As a father, I wanted to make a movie that my kids can love.
Utopia is something that I think about in connection to an experience I had when I was a kid.