Explore Quotes by Cary Fukunaga

I used to always make art for girls. That was the thing I did for girls to like me. I did portraits, drawings, letters that formed outlines of significant things in our relationship. Art. I just used art in general. It usually worked.

I have a really good relationship with Focus Features; we had a wonderful time working together on 'Sin Nombre.'

I've certainly never been dying to go to England my entire life.

I used to do Civil War re-enacting between the ages of 15 and 19. I was part of a unit that was considered very authentic. We would source the right wools, the right buttons for the costumes. We had the right look.

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.

Casting directors I don't think are the best in Mexico at street casting. Whereas, I think, in New York and in L.A., that's more common; not so in Mexico. So it's up to you as a director in a lot of ways to go out and do that.

I think about a Richard Avedon photo series, the kind of faces he gets of real people, which I find so captivating. Fellini was also great in filling his films with this ambiance, this environment, sometimes chaotic and carnival-like, but people's faces were always amazing.

'City of God' and 'Slumdog Millionaire' are both films that I really like, but they are stylistically the opposite of what I wanted to do.

I'll definitely say that, before film school, I didn't have much of a film-history background. I didn't know much about classic cinema.

I binge write, basically. I do a lot of prep, research, setup. I'll have a pretty detailed outline. Sort of like a beat outline. And then I'll add little notes and dialogue ideas, and I'll just create a 20-page document.

It's so easy for shows to be gritty and handheld and shaky and really tight in people's faces.

To do action without cuts is infinitely more exciting.

There are elements to the 19th century which just don't work for contemporary audiences.

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.

I like characters that make choices and try to drive their own fate.

I was a big history buff as a teenager.

I think I have this field around me that makes electronics work bad. It's not like an entropy thing; it happens very quickly.

'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.

My ideas tend to be either really big in terms of like, the logistics, or really small.

One of my problems with a lot of things I watch is that everybody's too pretty, and it takes me out of the film because I'm thinking that all these people look like I've seen them in a cafe in Los Angeles.

It's a treat and daunting to be directing someone like Judi Dench, who's made more films than I'll ever make in my lifetime.