It's rare that you can promote a love story and feel fear in a film.
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.
Sundance took me on my first film and from there sort of launched my career.
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.
In a city like New York, especially for young professionals who aren't in a family situation, most people don't cook for themselves. This is the only city I've ever lived in where I eat out every night.
I love the idea of 3D, but it's completely superfluous to most stories.
New York is perfect for Tanizaki because it's filled with so many dark spaces.
I do want to direct a movie from horseback one day.
So often at home in the West Village, I'm like, 'Why aren't I allowed a horse?' I would keep a horse in a stable in my apartment, and I would fit him with rubber shoes, and we'd just roll him out. If I needed to go to a meeting somewhere, I'd just get on my horse and go across town.
I'd done the method bit before from, like, age 15 to 19. I was a Civil War re-enactor.
An eight-hour movie is definitely not a two-hour movie. An eight-hour movie is really like five independent films, if you think about it, because each is usually an hour and a half. In some ways, it is like making a movie. It's just a lot more information.
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.
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.
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.
My friends just make fun of me in some shape or form.
Increasingly, there's much better material on television, but there's not always the time and money to make it, so you've got to make sure you make it in the right place. It also depends on time commitment; a lot of directors will make a pilot, but a series is just a whole other level of involvement.
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.
There's a lot of two-hander dialogue in 'True Detective,' and I needed to place those guys in locations where there were other levels of visual storytelling. It didn't necessarily have to move the plot forward, but it had to add tone or add to the overall feeling.
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.
