A Quote by Ira Sachs

I grew up thinking there was something called 'independent film,' which I wouldn't necessarily have had access to if there wasn't Sundance. — © Ira Sachs
I grew up thinking there was something called 'independent film,' which I wouldn't necessarily have had access to if there wasn't Sundance.
I can't wake up every day and not thank Sundance. They're a great beacon of light for any independent film. Just to have a film that you made shown on a screen for an audience in a theater is beyond me, so I owe them everything in the world.
I did a film which was considered an independent movie with Dustin Hoffman and Andy Garcia called Confidence, and that's the type of film I was willing to take a chance on that because of the caliber of people involved with the film.
There's a film there in competition [of Sundance Film Festival] called To The Bone. It's directed by Marti Noxon. I have a supporting role in it. It got really well received. It's a really great film.
I love good film, whether it's an independent or studio film. The independent films, I think the good ones aren't necessarily eccentric ones but they're the more specific ones.
I'm about to go to Sundance for my 3rd year, and Sundance has never felt like a real independent festival at all. On the other hand, it might to start feel that way.
There's a big difference between the independent film world and the Hollywood film world, and I don't know that I understood that until I got into certain rooms, and people's faces go blank when you talk about Sundance.
I grew up not really thinking I had a disability. I grew up thinking I had different shoes.
I'll just say it: I love Sundance; my very first film won Sundance.
In the summer of 2000, four college friends and I grew mustaches, bought highway patrol uniforms, and shot a $1.2 million budgeted independent film called 'Super Troopers.'
Sundance is going to be a defining moment in my life. But the unfortunate thing about Sundance is, when you have a film there, you can't have the opportunity to see other films.
I did a film called The Jesuit, which was an independent film. I did that shortly after Mistresses. I was still feeling soft and I was nursing, but it was a character I'd never played before. That was a Paul Schrader script, with an up-and-coming Mexican director, named Alfonso Ulloa. That has Tim Roth and Paz Vega in it, and I enjoyed that, as well.
'Our parents' generation had it a lot tougher than we did. They had to live through the Depression, World War II, and then they had to, you know, try to pick up the pieces of their lives and bring up their children. And, it was a great example for us. I guess we grew up with a certain amount of the ethics our parents had, which is, you know: work hard, make your own way, be independent.
I've had something like seven films at Sundance, one of which won the Grand Jury Prize.
David Michôd changed my life, quite literally, along with the chaps at Sony Pictures Classics. That's what set me on my way. I thought we did good work and had a good film, but when it was so praised at Sundance that year that's what really started the ball rolling. We all paid our own way to Sundance.
I grew up in a little town in Arkansas called Clarksville and it was a weird existence, you know? I grew up white trash; we had holes in our walls.
I had intended to make another film, called Pocket Money, which was to be about children at a school. I was very much intrigued by the story [of Close Up] - it came into my dreams and I was very much influenced by it. So I called my producer and asked that we put aside Pocket Money and start something else, and he agreed.
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