Shane Carruth
Shane Carruth
Shane Carruthis an American film writer, composer, director, and actor. He is the writer, director, and co-star of the prize-winning science-fiction film Primer. His second film, Upstream Color, was released in 2013. Carruth also composed the scores for both these films. In recognition of Carruth's idiosyncratic and, at times, bizarre filmmaking, director Steven Soderbergh told Entertainment Weekly, "I view Shane as the illegitimate offspring of David Lynch and James Cameron."...
NationalityAmerican
ProfessionWriter
CountryUnited States of America
attention author came hold hopefully passing piece stories stuff
There is commerciality in storytelling, even in a film or a piece of literature. These things exist. That's why stories came to be: to hold attention and, while you're not looking, you'll get hopefully some nutritional value that the author has been working up. That's narrative; that's passing stuff down.
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Whether you are liberal or conservative, people seem to know the talking points for whatever the issue of the day is. Very rarely does it seem like these are opinions that people are coming up with themselves; it's like they watched the right cable news channel, and now they know what they are supposed to think, and they repeat that.
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'Pierrot le Fou' is something I keep coming back to. It's so surreal but still really engaging - it proves narratives within narratives are a landscape that can be pursued well.
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I stole a ton of film language from Steven Soderbergh and 'The Limey.' It's the definition of elliptical. It was the first movie I remember that introduced me to storytelling that isn't just one scene after another, and that things can be mixed up in the way that real experiences can.
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'Upstream Color' in particular, it's got to infect culture at some level in order to have a life of its own. Then it'll be judged, and it'll either live or it won't by its own merit, and history will decide whether it's relevant however long into the future. I think that's more than enough to hope for.
pause
'The Master,' it was really important to me to go see that in the theater, but that's a very rare occurrence for me. I typically enjoy things on my laptop. I'm in bed; I can be able to pause them.
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I'm only interested in science fiction that's used as a literary device, a shortcut into something more exploratory or universal about our experience. That's why I think it was invented and why mythology was invented; it's a tool, not an end to itself.
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I don't typically have a social life, I don't have a family, and I will stay up all night, every night, for days on end, to solve something that I think is solvable. And it's very frustrating sometimes, because I know that I'm like that, and it's not always a positive result.
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Any film that exists that is thorough, you can't give it to an audience of one and have that be effective communication. Communication involves an audience of many that have a conversation, put it through the ringer, filter it and then a sense of it coalesces.
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In school, when I got into upper-level math, there would be times when I would wake up from a dream and have - not an answer, exactly, but a direction to pursue. My writing has always been like that. I wake up from dreams knowing which direction to go in.
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I love the concept of the romance that exists when people are broken. Like, the promise of a romance when you're at the bottom. I think that's infinitely compelling and romantic.
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Going to grocery stores is almost my favorite thing to do to calm myself down. There's something about just walking aisle after aisle making mundane choices. 'Do I want that? No, I want the one that has the low sodium.' And that feels like a good exercise to be doing when there isn't anything to be doing. It's like a kick-starter in some way.
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I've heard stories about movies that are really maybe difficult and really dramatic and good, but they are being sold as romantic comedies. All it's going to do is just... that's hurting the work, because that just makes it impossible for anyone to see it correctly.
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It's a risk, but I'm sort of ready to let go of thinking of movies as books that you can watch. The notion of, 'If I put the narrative blocks in the right order, this will solve all of my storytelling problems.' No, it won't, and you end up with little more than books on film.