Joe Carnahan Quotes
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As much as I love Antonioni films, I love the Three Stooges.
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I'm pretty rigorous about the drafts I turn in. I don't turn in something that's so ungodly they go, 'What the hell is this?'
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To me, still my favorite 3D film is 'Dial M for Murder.' I thought that was great. Hitchcock used it, could put you in the room, which I thought was fantastic, but I'm still not a devotee of 3D.
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I did a pilot for Fox years ago called 'Faceless,' with Sean Bean. I always thought it was such a cool show because it was really raw. I thought we were pushing it. This was back at a time before there was the 'cable standard.'
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I'll spend the rest of my life chasing that feeling I had on 'The Grey,' because I think we're all aware that, first and foremost, we were having an adventure, and we were also making this movie at the same time.
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I love the ambiguous kind of endings. I think, oftentimes, that's what life really is - there's no concrete path for you to take. It's always kind of a jumble of variables. Behind this door could be a beautiful woman, and behind the same door could be a tiger, you know? You don't know.
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I wish I'd made 'Warrior,' and I wish I'd made 'Drive.'
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I guess I much prefer the path of the contrarian: the guy who goes against the grain a bit. The careers of the people who I admire deeply - like the Coen brothers and Soderbergh - don't repeat themselves, and they make radically different films at times, and I think that's wonderful.
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There's a film that I wrote that I want to do called 'The Grey,' which is about a group of pipeline workers in Alaska flying back into civilization after being remote for a number of months. The 737 they're on goes down, and they begin to be hunted by a pack of rogue wolves.
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Be open-minded and available to everything and not just saying it's Jesus Christ or bust. So much of the world will do that. I find it troubling... Don't be dogmatic.
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It's like I don't have any one genre, I guess. I think you'd be hard-pressed to get me into a rom-com, but who knows?
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I always thought that as much as I love 'White Jazz,' it became almost unfilmable at some point, because there are so many strands, so much, and it became so psychotic... that's what made it such a great book, but those things would not carry over into the filmic realm, I thought, with ease.
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I got 'The Grey' made because Liam Neeson wanted to make that movie.
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To be honest, most of the time you leave the theater, and you're like, 'Well, that was nice, but where did I park?' It doesn't really stick with you.
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I am fascinated by that notion of people are never as they seem. And that doesn't make them good or bad. It's just we don't ever really show ourselves if we don't have to.
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I look at Las Vegas, and I see the absolute best of what we are as Americans, and I see the absolute worst, in the same city.
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There's a vast difference between marketing a movie and the movie itself. You try to cast as wide and broad a net as possible.
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If 'The Blacklist' taught me anything, it was kind of open-ended intrigue and leaving questions unanswered. Creating this kind of mystery by virtue of depriving the audience of these easy answers was what I was kind of into.
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I have a very warm feeling about Kickstarter 'cause I think it's the best of what we can be. It's people who actually help out our fellow artists. We actually kind of go into our pocket for something. It's very rare.
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'Killing Pablo' to me - as much as I love 'The Grey''s script - 'Killing Pablo' to me is the best thing I've ever written.