Shane Carruth Quotes
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I am a control freak but it's important to feel strongly about the material you're working on.
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Many of my favorite films, if someone were to tell me simply what they're about, I probably wouldn't be that interested. Plot often has so little to do with what's at the heart of a film.
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I am obsessed with story. I had a late awakening in life. In college was the first time that I understood what you could do with a story and what a good novel is - literary value and subtext and irony and everything.
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It's interesting because I don't ever want to ask a better question than I can answer, if that makes sense. I find that frustrating as a viewer. Compelling questions, while not easy, are easier than compelling answers.
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Pierrot le Fou is something I keep coming back to. Its so surreal but still really engaging - it proves narratives within narratives are a landscape that can be pursued well.
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I had a really generic upbringing, I think, when it comes to viewing movies as a kid. I didn't really know what was out there or what was being tried. I was, like, 'E.T.' and 'Indiana Jones.' Those were the only things I knew existed.
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I find 'Fatal Attraction' really romantic. I really like the seduction. Almost every time I see it, I'm surprised when it goes dark. I know that's the claim to fame, but I key into how genuinely romantic it is.
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I will be making films, and I'm going to keep working, no matter what I have to do. And I don't plan to ever ask for permission from anybody.
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I think I'll always want to write and direct. I'm interested in producing and helping other people tell stories. But I'm still in love with writing and directing.
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The biggest mistake I made was not having a full-time producer. I was securing locations and wardrobe and making sure people get called to show up on time and getting the film to the lab and getting the camera, and all this stuff that I'm happy to do, but if I'm doing every little thing, I'm not concentrating on my story. So it never gets any better than the script.
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Cinematography was incredibly foreign to me, so I read as much as I could about it. Once I figured out that it was just photography with a set shutter speed, I got some slide film and I just went about storyboarding the script and taking snapshots. I took a ton of time doing it just to make sure I knew exactly what I was doing. By the end of it I knew what the film was going to look like - my exposure and the composition and everything. I wasn't scared of cinematography anymore.
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I don't read books on how to write screenplays just because I'm stubborn. So it's all sort of made up.
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I don't want to be thought of as somebody who's spiritually ambiguous, but the reality is there's unknown things happening. I'm not ready to point at what they are or what the reason is, but I know they exist.
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I don't believe that narrative works when it's trying to teach a lesson or speak a factual truth.
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As a viewer, that's work I respond to - work that I know is singular in some way. If I'm being challenged by something on screen, if I don't quite know why it's happening, I want to know I can do the work of pulling it apart and that there'll be something satisfactory about it. If the architecture is sound, you can be lyrical in execution.
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Film is a collaborative process, absolutely, but I am a control freak.
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When something is beautiful in math, everything is just perfectly lined up, and you see through sheer thought that something really beautiful can take place.
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My favorite films are the ones that I walk away from and I know I saw a story. I saw the core part of the plot. But if I ever take another look at it then I can see that there was some more stuff going on in there that I didn't realize.
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All I know is that as an audience member, I am less and less inclined to go to the theater.
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The thing that is most important is to feel like you're at the front of the line, to be prime or primer. I definitely never wanted to say that in the films, but that's where it comes from.
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When I started writing short stories, I thought I was writing a novel. I had like 60 or 70 pages. And what I realized was that I don't write inner monologue. I don't want to talk about what somebody is thinking or feeling. I wanted to try to show it in an interesting way. And so what I realized was that I was really writing a screenplay.
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I don't spend a lot of time in nature. Probably less than most people that live in urban Texas.
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Filmmaking is a thousand choices a day and it's important to just let those choices potentially be informed by something deeper.
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Everybody's saying we've got to go 3D or virtual reality or choose your own adventure. But there are other ways forward. I don't think we're done with film by a long shot.