A Quote by Cary Fukunaga
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.
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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.
I have a really good relationship with Focus Features; we had a wonderful time working together on 'Sin Nombre.'
'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.
When I was working on The Wire with the other actors, scene after scene after scene, I felt like we were singing together. We were dancing together. I'm like, "This is the best ensemble I've ever worked with. I'm working with these cats? Holy mackerel, this is heaven."
I'm an untrained musician. Untrained musicians don't really have any music theory, they don't have a lot of rules. We break the rules, but it's mostly because we don't know what the rules are. It's easy for us to go to certain places, so I'm not surprised that a lot of people were amused by my songwriting style.
With 'Sin Nombre,' there are parts that I wish were longer. And with 'Jane Eyre' especially, there were parts that I had to compress that I thought it would have been really nice to spend more time with - to spend with the characters.
Working with [Kyle Chandler] in the scene was like playing tennis. You work with really talented actors, I think they make other actors look really, really good.
I can't wait to do a fully improvised script again, to find people who are really comfortable and into it. It's about the capabilities of the people you're working with, what are their strengths and weaknesses. Some of the most brilliant actors need the spine of the text to work off of, and there's no shame in that; they're actors, not writers.
When I got into the movie business, working with actors was the one thing I was really weak at. I didn't know what to say to actors. They scared me and intimidated me. The actors that I've worked with who have had a lot of experience, or who I've even grown up watching as a kid, were really scary. I was like, "What am I going to say to this person?" But, I've matured. It's fun. I understand what actors do now.
The Justice Department needs to investigate how Goldman Sachs was able to steer things in such a manner through their former employees in the Bush administration, so that in the end Goldman's competitors have disappeared and Goldman is left standing.
I love actors and I understand what has to happen within a scene. Any scene is an acting scene and actors never act alone, so there has to be an interchange. If it's a dialog scene, if it's a love scene, it doesn't matter because you need to establish a situation.
I love working that way, and that's sort of the way that Mark, Jay, and I have been working for years, where we start with scripts that are really solid and well-written. But once we get into the scene and we start doing the work, we definitely loosen things up.
John Carpenter was very gentle. He was very tender. He really liked talking to actors. He really wanted you to be comfortable. He waited until you were ready to do the scene, and he has a lot of confidence.
They were looking for actors - real actors - who could play instruments. There was a lot of improvisation and scene work involved in addition to the music. The auditions went on for a long time.
I actually did a lot of improvised movies or movies that were partially improvised.
I've been really lucky to work with a lot of really great actors, so watching the films back, it's really important to admire the people that you were working with and see their full performance.
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