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.
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.
Every single substitute teacher growing up could not pronounce my name, so whenever someone pauses, I'm like, 'Oh, that's me.'
I think I have this field around me that makes electronics work bad. It's not like an entropy thing; it happens very quickly.
I began writing fictional stories and little screenplays when I was in fifth grade.
I don't believe happiness comes out of material gain, for sure.
I enjoy setting the scene and coming up with interesting frames. 'True Detective' was a very hands-on set.
It's rare that you can promote a love story and feel fear in a film.
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.
After 'Sin Nombre,' I just needed to take a break to go to completely different worlds.
As storytellers, you're always somehow creating history.
'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.
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.
Ed Norton is probably one of the smartest people I've ever met.
For un-subscribe please check the mail footer.