Explore Quotes by Cary Fukunaga

No, ramen's not good for you. But in Japan, our favorite thing to do after drinking all night, especially in Sapporo where it's freezing cold, is to go to the ramen place at two, three in the morning.

I love the idea of 3D, but it's completely superfluous to most stories.

I'd done the method bit before from, like, age 15 to 19. I was a Civil War re-enactor.

Collaborations aren't easy, but you definitely get something highly different than had you done it on your own. That's part of the experience.

If you're directing, it doesn't really matter any more if it's going straight to TV - what matters is whether you have the resources to make a story that moves you.

Obviously, a lot of TV shows are based on chronological episode viewing, and the stories are contingent upon watching it in order. Syndicated shows, you don't have to watch in order. You're just watching characters that don't change that much.

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.

After 'Sin Nombre,' I just needed to take a break to go to completely different worlds.

I think I learned discipline on 'Jane Eyre.' Charlotte Bronte's dialogue, the intellectual duel between Rochester and Jane Eyre's character, is so compelling that you didn't have to do much with the placement of cameras.

When you have a script, and you're discussing what it can be, and who going to play what role, that's a kind of like a fantasy football game. You can imagine these different dream teams interpreting these characters that only exist in your head.

My dad worked for a generator company and then UC Berkeley, and my mom was as a dental hygienist and then eventually a history teacher. My uncles and aunts, all of them are elementary school teachers or scientists.

'True Detective' would not pass The Bechdel Test.

My friends just make fun of me in some shape or form.

I'm definitely sensitive to the idea of exploitation. You don't want to glamorize certain things.

I don't really put trophies out. I don't keep trophies around my apartment.

I wanted to make my sophomore film as different as possible. I didn't want to be pigeonholed. I didn't want to be identifiable.

'Victoria Para Chino,' my 2nd-year film at NYU, gave birth to 'Sin Nombre.'

Writing, for me, is an inherent part of understanding the material on a deeper level.

I was imagining films in my head and trying to gather friends together to make movies since I was a kid. I tried to do comedy skits and a horror film.

I have no idea what it would be like to be just one thing and speak one language. I feel enormously privileged to travel and be able to mingle and speak to people that, had I only known English, I wouldn't have been able to meet.

I don't storyboard, and I don't really shot list. I let the shots be determined by how the actors and I figure out the blocking in a scene, and then from there, we cover it.