CARY FUKUNAGA

Tom Hooper had done 'John Adams,' and David Lynch did 'Twin Peaks.' I figured I could do eight hours of television, and I wanted to.

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

Literally, I don't have a television. So I don't really know what's happening pop-culturally. I read the 'New York Times.' And there's one worldwide cabin blog that I look at.

With 'Sin Nombre,' there are parts that I wish were longer. And with 'Jane Eyre' especially, there were parts that I had to compress that I thought it would have been really nice to spend more time with - to spend with the characters.

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.

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.

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.

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.

I eventually want to do writing on all the films, but not necessarily to be the writer. Writing is a painful, painful thing; it really is.

I do want to direct a movie from horseback one day.

Some directors don't get involved in the cinematography and are just about story, but I'm definitely more tactile than that in terms of my involvement in the minutiae.

I love period pieces. But it's hard to get money to make costumed dramas, so we'll see.

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

My mom loved the old black-and-white films.

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.

You need the actors to feel as much ownership of the performance and the direction of the story as you do to get the most out of everyone's potential. Part of it is just making sure we all have the same vision.

It's easy to make something avant garde. To do something in the traditional way is much more brave in the sense that you're - your technique is so much more exposed because there's not all this flashy stuff to distract the viewer.

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

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

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 manager sent me the first two scripts for 'True Detective,' and I just thought they were so interesting and that the world they were depicting was so titillating to me.

I wrote my first script, which was 50 pages, at age 15. It was about two brothers in love with the same nurse while they're convalescing in a Civil War hospital.

It's rare that you can promote a love story and feel fear in a film.

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.