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
I don't read books on how to write screenplays just because I'm stubborn. So it's all sort of made up.
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.
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.
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 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.
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.
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.
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.
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.
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.
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.
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.
I'm constantly surprised by... an orange will roll off a table, and I'll catch it before I knew it was falling. Something happens there. We could write it off and say, 'Subconsciously I knew that was happening,' but there's so many things every day - I'm amazed by how little we know.
The only thing I can ever do is make a film that I can respond to. I could not make a romantic comedy for college girls. I wouldn't know how that works.