A Quote by Cary Fukunaga
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 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.
The story was the important thing and little changes here and there were really part of the story. There were even stories about the different versions of stories and how they imagined the differing versions came to be.
You come in as this satellite part of the film [Catching Fire], so I only see Stanley [Tucci] in my scenes. These kinds of movies have so many different components; it's about as different from doing The Girl as you could imagine.
So, it's always different. Some stuff, you want to do because it's a part that you've never played. It's always for story. Sometimes there's a story that you really dig, but there's no part that you're interested in. Sometimes you read a story and you say, "I could do that. I've never done that before. I could do play that part.
With movies and TV, storytelling, it's a different medium. I really love it, but I'm one part of many, many pieces of that puzzle and a lot of it is out of my control.
The most exciting part of the casting process was casting out of Israel, which was a really unique process, mainly done remotely from California, looking at casting tapes.
I suppose what I look for most in a part, other than it being different than the part before, is: Does he interest me? Will I have fun getting to know him and, to a greater or lesser degree, physically embodying him?
And there are never really endings, happy or otherwise. Things keep going on, they overlap and blur, your story is part of your sister's story is part of many other stories, and there is no telling where any of them may lead.
What I'm trying to do [in Winter Journal] is to tell the story of a man's life from birth, but there are different versions of him, four different versions.
I really think that movies are the most popular form of story telling ever and have such a huge impact on culture when they do. So I really want to be a part of those movies that say something good to a lot of people.
With The Help, I knew folks involved in the project peripherally. I wanted to audition for Hilly Holbrook and part of the initial feedback was: "No, Bryce is too nice." That's part of the reason why I really love auditions as well - you get to try out a character and try out different versions of a character.
The public saw my father right out of central casting. He looked the part, acted the part... he was the part! The real life Godfather.
Years and years of talking and writing versions of the script [Sausage Party] and looking at various versions of the animations - I mean, it's really a lot of workshopping and trying different things, and using the cast to try different voices and characters. And that's the good thing about animation. Because it takes so long, it allows you to explore in a way that you can't in live-action movies.
I never had a story for the sequels, for the last trilogy. That's not really part of the plan at this point, and I'll be at the age where to do another trilogy would take 10 years. I'd always envisioned it as six movies. When you see it in six parts you'll understand that it really ends at part six.
The evolution of government from its medieval, Mafia-like character to that embodying modern legal institutions and instruments is a major part of the history of freedom. It is a part that tends to be obscured or ignored because of the myopic vision of many economists, who persist in modeling government as nothing more than a gigantic form of theft and income redistribution.
If I only did TV show, I'd probably not be the happiest girl. I love the show, but I'm an actor and I want to work on different things. TV lasts for so much of the year that you're just aching to play a different part. And I love movies so much that I want to be a part of as many as I can.
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