Cary Fukunaga
Director
1977-07-10
Quotes by Cary Fukunaga
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When I was 20, I was living in the Alps, snowboarding and studying political science. I blew out my knee, and I began to realize my days in the sport were numbered; the reality was I would never be a pro.
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I wanted to make my sophomore film as different as possible. I didn't want to be pigeonholed. I didn't want to be identifiable.
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I don't storyboard, and I don't really shot list. I let the shots be determined by how the actors and I figure out the blocking in a scene, and then from there, we cover it.
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I think the only reason people use PCs is because they have to. Mac is the most streamlined computer there is. I started using the Mac in college because I was doing editing, and they were the only computers we could use to do that.
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Sundance took me on my first film and from there sort of launched my career.
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I love the idea of 3D, but it's completely superfluous to most stories.
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My dad is from Japanese descent, my mom is from Swedish descent and, through marriages and divorces, a pretty multicultural family - a lot of Spanish speakers in the family.
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My mom was married to a Mexican guy - a surfer - and so we'd kind of camp out on the beach the swell season.
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Some directors don't get involved in the cinematography and are just about story, but I'm definitely more tactile than that in terms of my involvement in the minutiae.
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Increasingly, there's much better material on television, but there's not always the time and money to make it, so you've got to make sure you make it in the right place. It also depends on time commitment; a lot of directors will make a pilot, but a series is just a whole other level of involvement.
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'True Detective' would not pass The Bechdel Test.
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I enjoy setting the scene and coming up with interesting frames. 'True Detective' was a very hands-on set.
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It's hard because there's a part of me that wants 'True Detective' to win every award we're nominated for. But I'm a huge fan of 'Breaking Bad' and 'Game of Thrones.'
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My manager sent me the first two scripts for 'True Detective,' and I just thought they were so interesting and that the world they were depicting was so titillating to me.
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Tom Hooper had done 'John Adams,' and David Lynch did 'Twin Peaks.' I figured I could do eight hours of television, and I wanted to.
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My grandma was really sick when I was working on 'Sin Nombre' and eventually died that summer when we were finishing the film. But I was able to bring an unfinished version of the film for her to watch.
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When I was a kid, I knew the black and white version of 'Jane Eyre,' and I guess I became interested in the idea of romantic love - of unrequited love and the tragedies of that; of what are the important things in life; what should one value over other materials.
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There's a lot of two-hander dialogue in 'True Detective,' and I needed to place those guys in locations where there were other levels of visual storytelling. It didn't necessarily have to move the plot forward, but it had to add tone or add to the overall feeling.
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I think any character has to be well-rounded, whether they are male or female - they have to be complex and make choices that maybe we don't agree with, you know? I guess that's what makes them human.
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I have a really good relationship with Focus Features; we had a wonderful time working together on 'Sin Nombre.'
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