A Quote by Ira Sachs

As a filmmaker, you realize that places have character based on their history as much as a face does or an actor does. — © Ira Sachs
As a filmmaker, you realize that places have character based on their history as much as a face does or an actor does.
An actor doesn't change thought, theme, or mood unless the character does, and the character only does it within the words of the play.
As a filmmaker you get typecast just as much as an actor does, so I'm trapped in a genre that I love, but I'm trapped in it!
I feel whatever an actor does on screen is something the actor 'does,' and what the director can do is to tell, talk or instruct. So, all the credit for an actor's performance goes to the actor alone.
Age is as much an asset for character players as it is for good wine. Human experiences, both good and bad, leave their marks on one's face and bearing. A few lines on the face and a few gray hairs coupled with the idiosyncrasies an actor adopts throughout life help out round out the actor's personality. So far as I'm concerned, the older a character actor gets, the firmer his position is.
There are a lot of actors who will sit here and talk to you about characters - 'He does this, and she's a really interesting character because she does this.' I'm not like that at all. I'm not an actory actor.
I don't see a difference between the idea of what an actor does and what someone supposes a character actor is, really.
The secret lies in the actor's personal satisfaction. How can the audience be moved by a character the actor himself does not believe in?
History does nothing; it does not possess immense riches, it does not fight battles. It is men, real, living, who do all this.
What does Macbeth want? What does Shakespeare want? What does Othello want? What does James want? What does Arthur Miller want when he wrote? Those things you incorporate and create in the character, and then you step back and you create it. It always must begin with the point of truth within yourself.
[Sundance] still feels significant. I don't think you can help but come here and not feel that sense of history and its significance in influencing film. And I think it still does. Some of that is based on history, but it's also based on really incredible programmers who are showcasing such an incredible variety of cinema.
He does much who loves God much, and he does much who does his deed well, and he does his deed well who does it rather for the common good than for his own will.
I think we are affected so much by mythical stories and biblical stories, our society being based on the Bible - at least the old society is based on biblical terms and laws - that there's more of it in art than people realize. Sometimes it comes to the surface, but sometimes it's below the surface, but certainly, it does influence some of my movies.
I don't think that many people today, understand the nature of what an improv does for an actor in a specific setting. What an improv does for an actor is help him find the life; it's the life that an actor's after.
I've worked in this business long enough that I know people who complain, like, 'My character does this, and my character does that,' and I think it's just ego talking.
There is a mortifying experience in particular, which does not fail to wreak itself also in the general history; I mean "the foolish face of praise," the forced smile which we put on in company where we do not feel at ease, in answer to conversation which does not interest us. The muscles, not spontaneously moved but moved, by a low usurping wilfulness, grow tight about the outline of the face, with the most disagreeable sensation.
I'm really trying to dredge up what one might call intellectual and moral material. For example, when do you realize that you are an American? What age does that happen to you? When do you realize what religion your parents practice? When does it all become conscious? I was interested in exploring all of that.
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