Joe Carnahan Quotes
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On 'State of Affairs,' we're going after some names that you wouldn't think would traditionally do TV. A show that shoots in Los Angeles is such a rare bird in hand that I think we're gonna have the pick of the litter.
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With 'The A-Team,' it was like, 'Alright, I'm going to do a big popcorn movie and see how that feels.'
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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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As much as I love Antonioni films, I love the Three Stooges.
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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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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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I got 'The Grey' made because Liam Neeson wanted to make that movie.
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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 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 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 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'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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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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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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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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'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.
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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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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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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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'Raising Arizona' is maybe my favorite comedy of all time. What's great about it is that as slapstick as it gets, it has great moments of emotion and caring. Them bringing the baby back and Trey Wilson's character. I love that, man.