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
ideas political film
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.
freak film process
Film is a collaborative process, absolutely, but I am a control freak.
important lines film
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.
matter film permission
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.
stories saws film
My favorite films are the ones that I walk away from and I know I saw a story.
passion should filmmaking
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.
choices important filmmaking
Filmmaking is a thousand choices a day, and it's important to just let those choices potentially be informed by something deeper.
trying pieces film
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.
arduous bit closer compelling hopefully moves music
I'm interested in making something that moves quickly, that hopefully is compelling minute-by-minute but really packed densely with exploration. I'm very interested in how re-visitable we can make films. If we can get them closer to a music album, then it's not such an arduous process to revisit, and exploration can be a bit more cryptic.
agree move
I never set out to make a movie that was everything to everybody; if that were the case, we could all just take a picture of a tree and agree that the tree is beautiful and move on with our lives. I wouldn't even need to show up.
anyone difficult dramatic good heard hurting impossible maybe movies romantic sold stories work
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.
assemblage author clear conversation job puzzling
My job as an author - at least the way I think of it - is to make a story that is coded and puzzling enough to entice conversation and interpretation, but also to do the opposite: to make some things clear so that it is meaningful in some way, not just a random assemblage of ideas.
absolutely becoming fell hard honestly life moment rarely secure
I can honestly say, there was a moment when I was writing 'Upstream Color' where I fell so hard for what it was becoming that I couldn't think of anything else. I was absolutely secure in this story in the way I'm rarely secure about anything else in my life.
blocks books movies narrative notion ready solve sort
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.