A Quote by Ira Sachs
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.
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Writing fiction, for me, is a more indirect form of self-exploration than writing verse. When I'm working on a novel I'm moving characters around and I'm thinking about plot and there's a lot of other things going on at the level of structure and story. With a poem, a single idea or line or emotion can sometimes be enough - there's often a sense, in the best poems, of capturing a single instant. Perhaps poems differ from prose in the degree of solace they can offer - by speaking so personally, so directly, about shared experience. A few lines of poetry can provide comfort.
I never want to make a film. I don't wake up in the morning going, 'Ooh, I'd really love to be on set making a film today'. I'm aware that other contemporary film directors perceive film-making as what they do, as what they have to do. But I would hope that I am more catholic in my tastes.
It is a bit more challenging for the simple fact that now the stories I am writing are relying more on my imagination than on facts, more on research than on memory; so it is basically a slower writing process, more reading, more exploring. On the other hand, this approach is a little bit relieving too, since many times while writing [How the Soldieer Repairs the Gramophone] I felt too close and equal to my character.
One is told that you're either a hot writer, or you're finished and you're over. But of course, the more you hang around and the more you become aware not only of what "reputation" is for other writers, but also what your own reputation is, you become aware that it's much more complicated than the conventional media would have you believe.
I would have to say that working on 'Warrior' felt more like working on a play than any other film I've ever done.
Certainly I'm not going to sit on the Internet all day and read what Sam from Iowa is saying about me. But I'm a sponge. I've always been a sponge.
It's a sponge and I'm a sponge and for a second there all our sponge parts are one and I don't just have square pants, everything about me is squarish because I'm part of a wall.
I've definitely become more aware and conscious of what directors I'm working with because it's so important. The director is really more than half the battle of the film. You really rely on that. That's become really, really important to me, for sure.
Working with artists and other poets has made me aware that there was a bigger "me" that I hadn't been quite aware of. Plus we had a good time. It's so much fun to write, for example, with a big brush on a giant piece of paper and to help create visually attractive and surprising objects, which is not what you normally do when you're writing a poem. It's wonderful to create these pieces with artists.
I went to film school when I was 17, and of course when you are very young you think that there is nothing else in the world except film. At some point I started getting hungry to see something else. For five years I didn't make any films, I was traveling around the world, writing for newspapers, working in theater, working in opera, I thought I would never return to film.
Simply put, meta-writing is writing that is self-conscious, self-reflective, and aware of itself as an artifice. The writer is aware she's writing, and she's aware there's a reader, which goes all the way back to Montaigne's often-used address "dear reader," or his brief introduction to Essais: "To the Reader." It can be done in a myriad of ways.
You’re seriously not joking?” – Sundown “Really? How many more times are you going to ask me that? I could be on a beach right now with my wife, son, and daughter, baking in the sun while they frolic and play. Am I? No. I’m here, and I want nothing more than to yank you around with bullshit ’cause this gets me off more than my wife running in a bikini.” – Zarek
I think there can be a misrepresentation of who I am a lot of times because I might be more quiet than other artists. I don't walk in the room going, "Here I am!" I'm going to be the guy standing in the corner taking everything in. I think that can be taken the wrong way, as if I'm not interested in what's going on around, but it's not really the case.
If you are working in the Hindi film industry, you cannot escape playing a police guy more than three times.
If you read any of the biographies on J. Edgar Hoover, you find that they contradict each other more than they agree. Often times, they're often told from a political perspective.
Characterisation is more important to me than the script. A decent story and extraordinary characters can do wonders for a film, but you cannot do it the other way around.
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