Shane Carruth Quotes

Editing is very satisfying process. You spend hours working on something and then you get to watch it. It's immediately satisfying where everything else is just kind of waiting and waiting and waiting.

I am a control freak but it's important to feel strongly about the material you're working on.

I will be making films, and I'm going to keep working, no matter what I have to do. And I don't plan to ever ask for permission from anybody.

I have a really, really hard time sitting down and watching a TV show, except I'm apparently willing to watch the same episode of 'It's Always Sunny in Philadelphia,' like, seven times.

My favorite films are the ones that I walk away from and I know I saw a story.

I don't want to be thought of as somebody who's spiritually ambiguous, but the reality is there's unknown things happening. I'm not ready to point at what they are or what the reason is, but I know they exist.

Everybody's saying we've got to go 3D or virtual reality or choose your own adventure. But there are other ways forward. I don't think we're done with film by a long shot.

If something can be explored or illuminated that would have been difficult to verbalize, that to me is what a film should be. It's like trying to explain what a piece of music is like. You can't do it.

I got a degree in math, from not a good school in Texas, and then I went to work as a software engineer. Just not glamorous at all.

I don't spend a lot of time in nature. Probably less than most people that live in urban Texas.

Film is a collaborative process, absolutely, but I am a control freak.

I feel like we want to compartmentalise things and say, 'Well, that's emotional, artistic and subjective, while this is intellectual, objective and measured.' I have difficulty thinking that's the way we experience things.

I don't believe that narrative works when it's trying to teach a lesson or speak a factual truth.

As a viewer, that's work I respond to - work that I know is singular in some way. If I'm being challenged by something on screen, if I don't quite know why it's happening, I want to know I can do the work of pulling it apart and that there'll be something satisfactory about it. If the architecture is sound, you can be lyrical in execution.

I came to filmmaking because it's my passion. I decided I can't have it distorted or marred by someone else deciding what it should be.

I find 'Fatal Attraction' really romantic. I really like the seduction. Almost every time I see it, I'm surprised when it goes dark. I know that's the claim to fame, but I key into how genuinely romantic it is.

When I started writing short stories, I thought I was writing a novel. I had like 60 or 70 pages. And what I realized was that I don't write inner monologue. I don't want to talk about what somebody is thinking or feeling. I wanted to try to show it in an interesting way. And so what I realized was that I was really writing a screenplay.

I never got into 'MacGyver,' but 'All the President's Men' and 'The Conversation' were big for me.

I don't read books on how to write screenplays just because I'm stubborn. So it's all sort of made up.

Many of my favorite films, if someone were to tell me simply what they're about, I probably wouldn't be that interested. Plot often has so little to do with what's at the heart of a film.

It's interesting because I don't ever want to ask a better question than I can answer, if that makes sense. I find that frustrating as a viewer. Compelling questions, while not easy, are easier than compelling answers.

I love to work. It's the idea of having someone else tell you how to make your film or how to sell it - that's the part I can't really deal with. I would rather do 1,000 things that are work than deal with one thing that's a political problem.

Cinematography was incredibly foreign to me, so I read as much as I could about it. Once I figured out that it was just photography with a set shutter speed, I got some slide film and I just went about storyboarding the script and taking snapshots. I took a ton of time doing it just to make sure I knew exactly what I was doing. By the end of it I knew what the film was going to look like - my exposure and the composition and everything. I wasn't scared of cinematography anymore.

Probably the TV show I've watched the most is 'How It's Made' on the History Channel. I could watch 24 hours of 'How It's Made' and never get bored.

I am obsessed with story. I had a late awakening in life. In college was the first time that I understood what you could do with a story and what a good novel is - literary value and subtext and irony and everything.

When something is beautiful in math, everything is just perfectly lined up, and you see through sheer thought that something really beautiful can take place.

I think I'll always want to write and direct. I'm interested in producing and helping other people tell stories. But I'm still in love with writing and directing.

Filmmaking is a thousand choices a day and it's important to just let those choices potentially be informed by something deeper.

I had a really generic upbringing, I think, when it comes to viewing movies as a kid. I didn't really know what was out there or what was being tried. I was, like, 'E.T.' and 'Indiana Jones.' Those were the only things I knew existed.

The biggest mistake I made was not having a full-time producer. I was securing locations and wardrobe and making sure people get called to show up on time and getting the film to the lab and getting the camera, and all this stuff that I'm happy to do, but if I'm doing every little thing, I'm not concentrating on my story. So it never gets any better than the script.

The thing that is most important is to feel like you're at the front of the line, to be prime or primer. I definitely never wanted to say that in the films, but that's where it comes from.

I've always been anxious about 'Primer.' There's good things about it, but all I've seen for a long time is the flaws.

All I know is that as an audience member, I am less and less inclined to go to the theater.

My favorite films are the ones that I walk away from and I know I saw a story. I saw the core part of the plot. But if I ever take another look at it then I can see that there was some more stuff going on in there that I didn't realize.

I hate even the idea of a synopsis. When stories are really working, when you're providing subtextual exploration and things that are deeply layered, you're obligated to not say things out loud.

I feel like math and writing are the same thing. You're putting together a lot of complex things to satisfy different requirements. It's got to be aesthetically pleasing; it's got to have subtext; it's got to convey information.

Pierrot le Fou is something I keep coming back to. Its so surreal but still really engaging - it proves narratives within narratives are a landscape that can be pursued well.

I believe that filmmakers have to internalize the story and subtext so well that all of the departments can start to speak to each other - that music can speak to cinematography can speak to writing and back again.