Cary Fukunaga Quotes
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There are a lot of movies I would want to be a fly on the wall for. I would have loved to see the making of Jaws [1975], with all the fears and anxieties it was going to be a complete failure, and then to have it turn into the first blockbuster.
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I think that one of the most exciting things about making films is the sort of reaching out to the world. It's as an ambassador. You realize the more you travel that you are a cultural ambassador for your own country. You never become more patriotic than you do living abroad.
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Getting back in the directors chair - there's a sense of like doing something every year. It's not like riding a bike, you're always learning new things, you're gonna face new challenges and when you face new challenges you'll have an answer for them.
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I try not to read too much because what ends up happening is that you ignore the nice reviews and you just focus on the bad reviews. A negative lesson is learned seven times deeper than a positive reinforcement.
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The theoretical casting part of movies is the funnest part. You really can imagine so many different versions of a story, based on who's embodying it.
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The only pressure is the pressure I put on myself, that's up to be I guess to mitigate that. I think there's always pressure that you make the right choice for the next film. You don't know what the outcome is gonna be, there's always potential to find length to your career as well. Now I'm so far from any other job skills that if I don't make movies.
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There's nothing better than finishing something and looking at it. Whether it be a script or a movie, it's this complete little thing that now exists and is hopefully immortal.
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They're always surprised with what I want to do and don't want to do. I think they're surprised I don't want to do robo-tech. I don't know, it's like they want me to have a long career. And be prolific and make big movies.
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I just have a hard time displaying things.
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I want to be happy while I make movies and not just do things just to work. I want to do things I spend years on.
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A period romance film with elements of horror. That was successful, because I feel like Coppola's DRACULA was one or the other. You know? It was never scary it was never a film he got invested in the romance of the characters. He understood it, but he never got invested. So it as a challenge for me to see if I could do that, I still don't know how audiences will sort of react to that.
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All I kept thinking about was, "Man, he's so relaxed onstage! I'm never going to be that relaxed! I'm clearly not meant to be in front of the camera. I'm really not meant for anything but behind the camera."
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If you have something really important you want to say, you have to read your audience, I guess.
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It's nice to represent to other people in the world that Americans actually do know what's happening in the world, can speak other languages and are conscientious. The perception quite often is that we don't know what's beyond our county line.
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It's just nice to be able to communicate and be able to identify with a lot of different cultures. I have no idea what it would be like to be just one thing and speak one language. I feel enormously privileged to travel and be able to mingle and speak to people that, had I only known English, I wouldn't have been able to meet.
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I'm pretty hard to impress, and I'm pretty exacting, in terms of what I want from my props department and art department. We spend many, many hours going over visual research and finding the right artists to create the material.
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I have aspirations of making a big, historical epic. I don't know if I'll ever get the money to do it.
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I've been wanting to make a movie about the war in Sierra Leone, specifically, for more than 15 years.
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I don't know what I am on set. I can be many different things on set depending on how stressful a situation is. But at the end of the day we're making movies, we're not saving the world... we're not an army, no one's lives are at risk and we're just trying to make art, so I think as long as you keep reminding yourself that's what it's about you can have fun.
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I've never watched my films with an everyday audience so it was really crazy to watch people clap at the end of my film - with no one there, no actors, no people from the film. It was just a spontaneous reaction, so I thought that was probably the best compliment you could get from an audience.
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The authenticity aspect is pretty important to me. When we have to compromise and do something that's not authentic, it really rubs me, every time I have to see it in the edit, which is millions of times.
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If you really want to tell someone you love them, you don't just go and blurt it out. There's a dance. And your movie does that.
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You only have so much time in life so everything you do needs to mean something to you.
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Living in New York, I get excited by the idea of working in a different medium. And it's pretty frightening because whatever skills it takes to make a good piece of theater seem mysterious to me right now.