A Quote by Cary Fukunaga
After 'Sin Nombre,' I just needed to take a break to go to completely different worlds.
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'Sin Nombre' was almost like the adolescent version of 'Jane Eyre.' 'Jane Eyre' sort of picks up where 'Sin Nombre' ends. It's about this girl who starts off on her own at her lowest point of despair, and she figures out how she got there.
I don't really enjoy working in TV, to be completely honest, even though it's incredibly lucrative, I'm just terrified of not being satiated in a myriad of different ways. It's amazing that I get to create every day, as an actor, or a director, or a writer, and I get to do it in a variety of different genres and worlds and characterizations. I think that's the great privilege of what we do, we get to make believe. I get to go to so many different places, try on different occupations, take on different points of view. That's what's always been sort of alluring.
One of the biggest misconceptions was, after I left Dream Theater, I went off and did, like, five different bands and side projects. Everyone was like, 'We thought you wanted a break.' And it was like, well, I didn't want a break from making music; I just needed a break from the Dream Theater camp.
After three straight years of writing, though, I definitely needed a break to just go live my life.
Part of why I love being an actor is the opportunity to be able to go to distant lands and take on different worlds and concepts and pretend to take on different occupations and statuses.
I can tell you that I like to take a character where everyone may have an idea of what it's supposed to look like and go in a completely different direction with it. I like to make it my own and make it very personal to me, which will end up probably looking completely different than someone else's take on it.
After I finished 'The Darkest Minds' series, I knew I wanted to take a risk and work on something completely different - lighter in tone, with a little bit more romance, and a completely different set of characters - that would also, um, finally justify my liberal arts degree.
'Victoria Para Chino,' my 2nd-year film at NYU, gave birth to 'Sin Nombre.'
For myself, mentally I just needed to take a break from the game. I took a longer break than normal. Because when you play that many games, that hard, it's a grind mentally.
I have a really good relationship with Focus Features; we had a wonderful time working together on 'Sin Nombre.'
There are different worlds, endless worlds, and different beings come from different worlds. In my particular case, I come from the stillness. We call it the dharmakaya, the clear light of reality. I know it quite well.
When I left I knew I was gonna go back to WWE. But I needed to go because whatever I was doing wasn't working. I needed to take a chance on myself and get better. The only way to do that was take some risks and go somewhere.
On 'Sin Nombre,' Adriano Goldman and I improvised a lot of things on-site. We were working with untrained actors, and you can't really block a scene in a traditional way.
Maybe to feel like an Afghan I needed to be born and raised in the States, and maybe I needed to live in Afghanistan for nearly a decade to feel like an American. Both worlds shaped me, but neither one of them completely correspond to the picture I have of myself.
Utiliza el nombre correcto para las cosas. El miedo a un nombre aumenta el miedo a la cosa que se nombra.
I love musicals but it's very, very different. It's really just a different form than serious drama, and has very different rules and a completely different set of characters and requirements and ambitions. It maybe shouldn't be as separate as it is, but it's got a different history. In terms of serious drama, I think you'd have to say that you could break it down essentially into the narrative realist tradition and experimental theater.
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