Cary Fukunaga Quotes
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One of the great things about working with Focus is that you're never forced, especially with a film with low budget. The pressure is sort of off. It's like it's so under the radar in a sense that you can cast whoever you want.
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It's pretty awesome to see people dressed up in period clothing and running around on horses and in carriages and all that kind of thing. Part of the fun of making a period film is just that playfulness. It's just like make believe when you're a child except you get to do it for a real job.
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As a director, your job is to make sure no one for any reason is taken out of the film. Sometimes it's impossible and sometimes things don't come out the way you want them to, but I think you have to work really hard at making the world engrossing and details are a major part of that.
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Film still looks way better than digital.
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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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Sometimes the best set experiences make for the worst films. So, you don't want it to be too good an experience! But the bulk of your life is working with people and collaborating so you don't want anyone to be miserable on your film either. You want it to be something that people walk away from saying that it was a good experience for them and hopefully a good film. As a director, you are sort of leader of that troupe for that period of time, so you're aware of morale and your effect - how you are as a person and how that sort of trickles down to everyone else.
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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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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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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'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 think I'd ever write anything that I don't also direct just because it's so hard and painful to write as it is.
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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.
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Every single substitute teacher growing up could not pronounce my name, so whenever someone pauses, I'm like, "Oh, that's me."
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I do want to direct a movie from horseback one day.
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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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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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It's an important part of being a member of society to know what's happening in the world and to know where you fall in it and what you can do about it.
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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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When people start talking, things happen.
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I'm terrible at making titles. I never like the titles of my films.
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You're always against the clock. But really just fighting for quality.
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I don't really put trophies out. I don't keep trophies around my apartment.
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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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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'm the kind of person where you're never done, you just keep perfecting and perfecting and perfecting, or trying to fix things that drive you crazy. Often times when you watch a film, "if I could just get through this minute, I'll be fine." So I think I'm just hard on myself.
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Even on my films, I always collaborate with the actors. That's a given. I think you need that. You need the actors to feel as much ownership of the performance and the direction of the story as you do, to get the most out of everyone's potential.
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Collaboration sometimes causes conflict, and sometimes it's easy, but the bringing together of great minds only adds.
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I just have a hard time displaying things.
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In snowboarding, you're constantly aware that people are so technically brilliant at what they do, and you feel like, "Ugh, I'll never be able to do that."
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Everyone wants to be liked, so of course you want critical acclaim. After that, box office acclaim isn't bad. More than anything I think you have to try and make something you're proud of.
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