Zitat des Tages von Cary Fukunaga:
I like characters that make choices and try to drive their own fate.
My manager sent me the first two scripts for 'True Detective,' and I just thought they were so interesting and that the world they were depicting was so titillating to me.
Shakespeare is repeated around the world in different languages, just because it's good storytelling.
My grandma was really sick when I was working on 'Sin Nombre' and eventually died that summer when we were finishing the film. But I was able to bring an unfinished version of the film for her to watch.
I have these plants in my house that are dying, so having a robot butler to water them when I'm away would be pretty handy.
I love period pieces. But it's hard to get money to make costumed dramas, so we'll see.
To be straight, I was kind of a dork, and in order to fulfill the creative fires burning inside me, I participated vigorously as a Civil War re-enactor through most of my teenage years, traveling across the country to participate in large scale reenactments - grandiose plays enacted by over weight history buffs and war enthusiasts alike.
It's a treat and daunting to be directing someone like Judi Dench, who's made more films than I'll ever make in my lifetime.
Going from having an Atari to a laptop changed everything. It allows me to work anywhere I want and send my work home - I can work anywhere in the world.
'Jane Eyre' was one of those films that I was familiar with as a kid, and I always enjoyed the story.
I wanted to make my sophomore film as different as possible. I didn't want to be pigeonholed. I didn't want to be identifiable.
My mom loved the old black-and-white films.
Writing, for me, is an inherent part of understanding the material on a deeper level.
It's hard because there's a part of me that wants 'True Detective' to win every award we're nominated for. But I'm a huge fan of 'Breaking Bad' and 'Game of Thrones.'
I think the semantics of mini-series for a network is that it has an end.
My friends just make fun of me in some shape or form.
I don't believe happiness comes out of material gain, for sure.
On 'Sin Nombre,' Adriano Goldman and I improvised a lot of things on-site. We were working with untrained actors, and you can't really block a scene in a traditional way.
No, ramen's not good for you. But in Japan, our favorite thing to do after drinking all night, especially in Sapporo where it's freezing cold, is to go to the ramen place at two, three in the morning.
Literally, I don't have a television. So I don't really know what's happening pop-culturally. I read the 'New York Times.' And there's one worldwide cabin blog that I look at.
I love the idea of 3D, but it's completely superfluous to most stories.
I've written immense love letters that are supposed to be opened over days at a time.
I want to have a nice country home one day, yeah.
I binge write, basically. I do a lot of prep, research, setup. I'll have a pretty detailed outline. Sort of like a beat outline. And then I'll add little notes and dialogue ideas, and I'll just create a 20-page document.
I used to do Civil War re-enacting between the ages of 15 and 19. I was part of a unit that was considered very authentic. We would source the right wools, the right buttons for the costumes. We had the right look.
Obviously, a lot of TV shows are based on chronological episode viewing, and the stories are contingent upon watching it in order. Syndicated shows, you don't have to watch in order. You're just watching characters that don't change that much.
Increasingly, there's much better material on television, but there's not always the time and money to make it, so you've got to make sure you make it in the right place. It also depends on time commitment; a lot of directors will make a pilot, but a series is just a whole other level of involvement.
I'm never more miserable than when I write, and never more happy than having finished and having it sitting in front of me.
I'm definitely sensitive to the idea of exploitation. You don't want to glamorize certain things.
With 'Sin Nombre,' there are parts that I wish were longer. And with 'Jane Eyre' especially, there were parts that I had to compress that I thought it would have been really nice to spend more time with - to spend with the characters.
If you're directing, it doesn't really matter any more if it's going straight to TV - what matters is whether you have the resources to make a story that moves you.
I eventually want to do writing on all the films, but not necessarily to be the writer. Writing is a painful, painful thing; it really is.
When you have a script, and you're discussing what it can be, and who going to play what role, that's a kind of like a fantasy football game. You can imagine these different dream teams interpreting these characters that only exist in your head.
There's nothing I find more lazy than unmotivated camerawork just to make things look interesting.
I don't storyboard, and I don't really shot list. I let the shots be determined by how the actors and I figure out the blocking in a scene, and then from there, we cover it.
When I was 20, I was living in the Alps, snowboarding and studying political science. I blew out my knee, and I began to realize my days in the sport were numbered; the reality was I would never be a pro.