Intimacy is something to be cherished, and intimacy is not something to be afraid of.
Fighting bitterness can be a full-time job.
I conveniently was not accepted to film school, which I applied to in 1987, and so I decided I would become a filmmaker instead of a student.
My father moved out to Park City in in the mid-'70s and lived in a Winnebago behind a hippie joint called Utah Coal & Lumber that was one of only two or three restaurants at that time. Park City was a sleepy little mining town, with not a condo in sight.
Suspense films are often based on communication problems, and that affects all of the plot points. It almost gives it kind of a fable feeling.
Seeing the road show of 'A Chorus Line' in 1977 at the Orpheum Theater in downtown Memphis was a life-changing event for me: there were gay people, on the stage, and they all lived in New York.
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've been hiding crucial events in my life since I was 13.
As a gay person, my life has been marginalized.
Being an artist is in part an act of rupture.
By 1988, I was living in New York myself.
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.
Movies are romantic fantasies.
It's easy to make a film, but it's hard to make a career of being a filmmaker.
Capturing intimacy is pretty much the only thing I'm interested in. That's what excites me and what I find beautiful in movies personally - that almost obscene sense that we shouldn't be this close to these people. I find that very inviting and meaningful as an audience member.
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