American - Director | July 10, 1977 -
'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.
Cary Fukunaga
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I'm definitely sensitive to the idea of exploitation. You don't want to glamorize certain things.
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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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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.
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I'm not a very sentimental person, so you're not going to find schmaltzy scenes in my movies.
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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.
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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.
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My dad is from Japanese descent, my mom is from Swedish descent and, through marriages and divorces, a pretty multicultural family - a lot of Spanish speakers in the family.
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I'm not Mexican, and I'm not Central American. I'm from California.
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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.
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Ed Norton is probably one of the smartest people I've ever met.
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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.
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