Cary Fukunaga

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

I wanted to make my sophomore film as different as possible. I didn't want to be pigeonholed. I didn't want to be identifiable.

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.

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

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.

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 was a big history buff as a teenager.

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.

There's nothing I find more lazy than unmotivated camerawork just to make things look interesting.

I'm clearly not meant to be in front of the camera. I'm really not meant for anything but behind the camera.

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

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.