In 2008, Era Sachs was shot by his manager. Most independent filmmakers have refused to play the game for a very long time, and the bill has finally got.
“I somehow understood,” says Sachs, more than a decade and a half of the features that were removed from that experience. “Because I did not enter the work, and his job was to facilitate the work of Hollywood, which I was not interested in. They were trying to get jobs for me instead of what I was trying to do, which was producing my own work.”
As for the record, Sachs believed that he would not have obtained the vehicles whose representatives wanted to land. But the experiment helped rethink its value in an industry that usually measures these things in terms of the beauty of the box office.
“Before that, I thought I was a profession based on some successes, or the hoops I jumped,” says West Village, said: “Then, I thought, can I get a profession? Let’s see.”
The money, or rather its absence, is at the forefront in the latest feature in Sachs, “Peter Hugar Day”, which is shown for the first time at the Sandans Film Festival for this year. The film focuses on an extended conversation between Peter Hujar (Ben Yoshou), a great photographer, but he is struggling, and his close friend, writer Linda Rosenkranz (Rebecca Hall), who recorded their conversation in an art project. Bhajar, who died due to AIDS in 1987, was not celebrated as an artist after his death (his publications now brings expected characters), and during the 1974 chat with Rosenkrantz that Sachs shows, he lives a lot on economic margins. “When you listen to it, you realize that art is related to money, cent, dollars and amid night questions about” How can I continue to do so? ”
But despite these pressures, Hujar is also part of a vibrant cultural scene that explodes with ideas, inspiration and possibility. He calculated Susan Sonag and Fran Leipouttz as two lumen. While recounting his day to Rosenkantz, Hujar talks about his visit by four different friends and five or six extended phone conversations.
“There was a sub -culture of artists that were full of tremendous energy, which was much less than the bourgeoisie than that we live now,” said Sachs. “There was this tremendous sense of society, and today it was lost when we have all these virtual relationships.”
But Sachs is concerned that the film, a two -fissure drama that moves from a apartment kitchen in New York City to the living room to her bedroom, with a few transit surface breaks, may not have enough procedures to preserve itself. Six weeks before the movie started to start production, it began to panic.
“We had a green light and we were ready to go and just thought,” Sachs recalled. “How do I make this cinematic? “Saks remember.” I had an implementation crisis. ”
So he returned to some of the films that inspired him, such as Christopher Monch, “Watch and Times”, which is a fictional look at a real holiday that John Lennon and manager Brian Epstein took, and the work of Chantal Akraman. “These handcrafted personal works were often about the topic, camera and person listening,” he says.
As a way out, saxs is not the maximum. His best films, such as “Love Strange” and “Young Men”, revolve around relationships. Emotional work. The domain is intimate.
“I am interested in doing the mini instead of macro.” “Focus on the details.”
In this case, the film contains two parallel topics, the struggle for the creation of art and the vital importance of communication. HUJAR was thwarted in one – tells a photo session with Allen Ginsberg who did not go as he hoped – and continues by the other.
“The film revolves around this link between Peter and Linda,” Sachs said. “They have a specific friendship between a gay man and a woman of two different sexes. There is a tone and texture for this type of relationship that I find a deep character.”
Although Hujar died before society and the culture in which his genius caught, Sachs feels that he lived a rich life, albeit short.
He says, “His story does not seem tragic for me.” “You are thinking about how much he mobilized in it. He had something that has a few people, which is this thick and active society of friends, comrades and enemies. Then there was his art.”
Like HUJAR, saxs derives energy from his work (PandeMic, he says, was a special imposition of taxes). Therefore, it is not surprising that he is already planning his next work, which the Whishaw star will play again, with which he previously worked on “clips”.
“We are two gay men with curiosity and magic with gay and strange art,” Sachs said. “It is vulgar, but I feel I found a brother in Ben.”
