Bomb Magazine Interview w/ Lynne Sachs by Poet Paolo Javier
Filmmaker Lynne Sachs and poet Paolo Javier on the dialogues between documentary and poetry, and politics and personal history.
2014
INTERVIEWS
2013
Interview with Lynne Sachs in The Brooklyn Rail – 2013
When the experimental filmmaker Lynne Sachs taught avant-garde filmmaking at the University of California, Berkeley, in 1992, few if any in our class had ever heard of the essayist Chris Marker, with whom she later collaborated on Three Cheers for the Whale, or Trinh T. Minh-ha, whose approach to filmmaking strongly influenced her own.
2013
Asian American Writers Workshop Interview with Lynne Sachs
When director Lynne Sachs first got the idea to make a film about shift-bed houses, she googled “hot-bed house” and got X-rated results. That was three years ago.
2012
Lynne Sachs interviews 3 New Day filmmakers from the Midwest
New Day filmmakers live all over the United States, although many are concentrated on the East and West Coasts. In the following interviews, New Day filmmakers from the Midwest reveal how living there has impacted their personal – and filmmaking – choices.
2011
Dallas Video Festival interview with Lynne Sachs – 2011
“The wonderful thing about NYC is that you can experience so many different kinds of environments. This uncharacteristically sunny November afternoon I catch up with Lynne Sachs, who has had work screened at the last two VideoFest. I compliment her on her beautiful website and we talk about the use of text and media and history in her work.” Raquel Chapa, Ass. Dir. Dallas Video Festival
2011
Kid on Hip, Camera in Hand Interview with Lynne Sachs
A program of films by women who look at the world through the lens of motherhood
2011
MIT Press OCTOBER / Roundtable on Digital Experimental Cinema
Roundtable discussion on Digital Experimental Cinema.
2010
Otherzine Interview w/ L. Sachs by Molly Hankwitz
In my twenty year relationship as audience to Lynne Sachs’ filmworks, I have always admired her amazing ability to connect the very personal, physical relationship of ‘selfhood’ to film and film history and to collage a variety of complex themes into one complete film, often with challenging ambiguity and open endedness.
