Top 83 Quotes & Sayings by Hiro Murai - Page 2

I'm a firm believer in the idea that once we make a thing and release it, my turn to talk is done. Ideally, you're saying everything you want to say in the product you're making, and you don't have to add commentary to it afterwards.

Even if an episode is self-contained, the preceding episodes always affect how the audience takes it in.

A lot of people who make films in my generation have the vocabulary of all the films they've seen before.

Whenever you're making something, you're hoping that it connects with somebody in some big way, but I'd have to be crazy to expect that.

For me, I don't have a grand vision planned or an end goal. I'm just exploring what's given to me at any given moment.

'Guava Island' is the end result of four incredible weeks spent in Cuba with some of the most inspiring creative talents I've ever met.

I just want to do things on my own terms as much as possible.

I don't like fast cuts. I'd rather shoot something that dances to the music.

If artists do have ideas, they're often not great.

At the end of the day, if you don't identify with the main characters, no television show will work.

People have a natural tendency to read emotions out of faces, so when you see a face that is hyperreal but without the life behind the eyes, it's really off-putting and intriguing.

Obviously the actors are incredible at being the audience surrogates in this crazy universe.

I love museums, but I always thought there was something funny about a group of strangers silently staring at works of inanimate objects together. Each person is having a very personal and maybe even emotional experience, but it's in the confines of an extremely quiet and sterile room.

I'm a fan of the mythos of Atlanta hip-hop, and it's something I grew up imagining. It was very interesting to get there and see the real version of this world and then reconcile the differences between what's presented as Atlanta hip-hop to the rest of the world and what the real, breathing version of it is.

The way I look at stories is often from far outside, like a god's point of view, and also very, very subjective.

Too many things are possible in a dream. It's most interesting when you don't know which space you're in.

TV is generally an unfriendly environment for directors because you're expected to come in and tell a story in the voice of the show that already exists, and just fill in the blanks and then submit it back.

I like the idea of reading into people's faces when they're not emoting. Some people are fascinated, some are sympathizing.

A lot of the music video stuff I've worked on is mostly me pitching ideas, and then if [the artists] have notes or thoughts, I'll integrate them into the idea.

That exact moment when you're about to realize that this might be a dream is my favorite thing.

I like the feeling of keeping people off-balance and having the audience not knowing where I'm coming from or keeping that mysterious.

Even my nighttime dreams are very, very rooted in reality. They just start to become surreal, little by little.

Shooting videos with lots of effects is like shooting a bunch of puzzle pieces.