Quotes from Cary Fukunaga

I think the semantics of mini-series for a network is that it has an end.

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.

In TV, you have no time and sort of just carpet bomb the scene with as many angles as possible as quickly as possible and find it in the edit.

I live in Brooklyn, New York, and hail from the 'East Bay,' Oakland, CA.

When you know you have a certain amount of work to finish, you just don't allow yourself to get sick again.

I began writing fictional stories and little screenplays when I was in fifth grade.

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.

As storytellers, you're always somehow creating history.

Shakespeare is repeated around the world in different languages, just because it's good storytelling.

I've written immense love letters that are supposed to be opened over days at a time.

I want to be happy while I make movies and not just do things just to work. I want to do things I spend years on.

Your movie should lull people into a place of openness and vulnerability. If it is just a diatribe, it's never going to work.

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.

'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.

In terms of tackling different subjects, I can't really think of anything I wouldn't want to try; that's the fun of it right? Each new style brings new challenges - not that you shouldn't focus on one and master it, but it takes so long to make a film, you just want to have some variety.

When I was 20, I was living in the Alps, snowboarding and studying political science. I blew out my knee, and I began to realize my days in the sport were numbered; the reality was I would never be a pro.

Every single substitute teacher growing up could not pronounce my name, so whenever someone pauses, I'm like, 'Oh, that's me.'

'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 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.

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.

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.

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

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

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