Cary Joji Fukunaga

Cary Joji Fukunaga's biography

Cary Fukunaga is 45 years old film director born at Oakland. He was born on Sunday 10th of July 1977. Cary is often nicknamed as Cary Fukunaga. According to year of birth 1977 he belongs to Generation X. Birthday on 10th of July means he is Cancer. Cancer is a watery sign. They are very friendly and show motherly love to everyone. According to ascendant calculator, an important trait of these natives is their sensitive nature.

He is multiracial american. Cary is citizen of United States of America. His primary profession is to be film director. You can know him also as screenwriter, cinematographer, television director. He is recently known as television producer.

Cary Joji Fukunaga's schools

We found 4 schools Cary attended. Complete list of schools: New York University Tisch School of the Arts, University of California, Santa Cruz, Analy High School, Grenoble Institute of Political Studies.

Detailed informations about his schools

• Graduated from NYU Tisch School of the Arts.

Cary Joji Fukunaga's career

His main focus is to be film director. He is famous thanks to No Time to Die.

Is Cary Joji Fukunaga gay ?

He is known to be straight.

Awards and competitions

Cary Joji Fukunaga's Awards

• Cary received award for Primetime Emmy Award for Outstanding Directing for a Drama Series for work True Detective in 2014

What Cary Joji Fukunaga has done for a first time

• First American director to direct an official James Bond film - No Time to Die (2021).

Cary Joji Fukunaga's quotes

• Have you seen [Matthew] McConaughey in 'Unsolved Mysteries?' Even back then, it's a great performance! And he's mowing the lawn.
• I used to always make art for girls. That was the thing I did for girls to like me. I did portraits, drawings, letters that formed outlines of significant things in our relationship. Art. I just used art in general. It usually worked.
• I began writing fictional stories and little screenplays when I was in fifth grade.
• 'True Detective' would not pass The Bechdel Test.
• My dad worked for a generator company and then UC Berkeley, and my mom was as a dental hygienist and then eventually a history teacher. My uncles and aunts, all of them are elementary school teachers or scientists.
• I think the semantics of mini-series for a network is that it has an end.
• My mom was married to a Mexican guy - a surfer - and so we'd kind of camp out on the beach the swell season.
• I didn't grow up watching detective shows. I've never even seen an episode of 'CSI.'
• My grandma was really sick when I was working on 'Sin Nombre' and eventually died that summer when we were finishing the film. But I was able to bring an unfinished version of the film for her to watch.
• I do want to direct a movie from horseback one day.
• Collaborations aren't easy, but you definitely get something highly different than had you done it on your own. That's part of the experience.
• I'd done the method bit before from, like, age 15 to 19. I was a Civil War re-enactor.
• I live in Brooklyn, New York, and hail from the 'East Bay,' Oakland, CA.
• My friends just make fun of me in some shape or form.
• If you're directing, it doesn't really matter any more if it's going straight to TV - what matters is whether you have the resources to make a story that moves you.
• With 'Sin Nombre,' there are parts that I wish were longer. And with 'Jane Eyre' especially, there were parts that I had to compress that I thought it would have been really nice to spend more time with - to spend with the characters.
• My manager sent me the first two scripts for 'True Detective,' and I just thought they were so interesting and that the world they were depicting was so titillating to me.
• I wrote my first script, which was 50 pages, at age 15. It was about two brothers in love with the same nurse while they're convalescing in a Civil War hospital.
• You work with the communities to make films. And you just don't go in and take over their territory.
• I was imagining films in my head and trying to gather friends together to make movies since I was a kid. I tried to do comedy skits and a horror film.
• I love period pieces. But it's hard to get money to make costumed dramas, so we'll see.
• Writing, for me, is an inherent part of understanding the material on a deeper level.
• The problem with being a writer/director: unless you're really disciplined, you start adding projects, and you have to make time to make them. Because you have to write them... no one else is writing them for me.
• My dad is from Japanese descent, my mom is from Swedish descent and, through marriages and divorces, a pretty multicultural family - a lot of Spanish speakers in the family.
• I have these plants in my house that are dying, so having a robot butler to water them when I'm away would be pretty handy.
• 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 think I learned discipline on 'Jane Eyre.' Charlotte Bronte's dialogue, the intellectual duel between Rochester and Jane Eyre's character, is so compelling that you didn't have to do much with the placement of cameras.
• 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.
• You need the actors to feel as much ownership of the performance and the direction of the story as you do to get the most out of everyone's potential. Part of it is just making sure we all have the same vision.
• In TV, you have no time and sort of just carpet bomb the scene with as many angles as possible as quickly as possible and find it in the edit.
• Tom Hooper had done 'John Adams,' and David Lynch did 'Twin Peaks.' I figured I could do eight hours of television, and I wanted to.
• Obviously, a lot of TV shows are based on chronological episode viewing, and the stories are contingent upon watching it in order. Syndicated shows, you don't have to watch in order. You're just watching characters that don't change that much.
• When you have a script, and you're discussing what it can be, and who going to play what role, that's a kind of like a fantasy football game. You can imagine these different dream teams interpreting these characters that only exist in your head.
• After 'Sin Nombre,' I just needed to take a break to go to completely different worlds.
• As storytellers, you're always somehow creating history.
• The anticipation-speculation that comes with a weekly schedule is a double-edged sword. Because people have more time to talk about things, some crazy ideas get a lot of attention.
• New York is perfect for Tanizaki because it's filled with so many dark spaces.
• 'Jane Eyre' was one of those films that I was familiar with as a kid, and I always enjoyed the story.
• No, ramen's not good for you. But in Japan, our favorite thing to do after drinking all night, especially in Sapporo where it's freezing cold, is to go to the ramen place at two, three in the morning.
• I love the idea of 3D, but it's completely superfluous to most stories.
• In a city like New York, especially for young professionals who aren't in a family situation, most people don't cook for themselves. This is the only city I've ever lived in where I eat out every night.
• 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.
• It's rare that you can promote a love story and feel fear in a film.
• I don't storyboard, and I don't really shot list. I let the shots be determined by how the actors and I figure out the blocking in a scene, and then from there, we cover it.
• My mom loved the old black-and-white films.
• Sundance took me on my first film and from there sort of launched my career.
• Victoria Para Chino,' my 2nd-year film at NYU, gave birth to 'Sin Nombre.
• When I was 20, I was living in the Alps, snowboarding and studying political science. I blew out my knee, and I began to realize my days in the sport were numbered; the reality was I would never be a pro.
• 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.
• I enjoy setting the scene and coming up with interesting frames. 'True Detective' was a very hands-on set.
• I'm never more miserable than when I write, and never more happy than having finished and having it sitting in front of me.
• There's nothing I find more lazy than unmotivated camerawork just to make things look interesting.
• It's so easy for shows to be gritty and handheld and shaky and really tight in people's faces.
• I'm better suited to be a director, I think. I see myself as the general author. I hate the word 'auteur,' because it sounds so solitary when filmmaking is anything but solitary.
• To do action without cuts is infinitely more exciting.
• One of my problems with a lot of things I watch is that everybody's too pretty, and it takes me out of the film because I'm thinking that all these people look like I've seen them in a cafe in Los Angeles.
• I want to have a nice country home one day, yeah.
• I binge write, basically. I do a lot of prep, research, setup. I'll have a pretty detailed outline. Sort of like a beat outline. And then I'll add little notes and dialogue ideas, and I'll just create a 20-page document.
• I eventually want to do writing on all the films, but not necessarily to be the writer. Writing is a painful, painful thing; it really is.
• I'll definitely say that, before film school, I didn't have much of a film-history background. I didn't know much about classic cinema.
• Literally, I don't have a television. So I don't really know what's happening pop-culturally. I read the 'New York Times.' And there's one worldwide cabin blog that I look at.
• It's hard because there's a part of me that wants 'True Detective' to win every award we're nominated for. But I'm a huge fan of 'Breaking Bad' and 'Game of Thrones.'
• I don't really put trophies out. I don't keep trophies around my apartment.
• It's easy to make something avant garde. To do something in the traditional way is much more brave in the sense that you're - your technique is so much more exposed because there's not all this flashy stuff to distract the viewer.
• Every single substitute teacher growing up could not pronounce my name, so whenever someone pauses, I'm like, 'Oh, that's me.'
• I'm clearly not meant to be in front of the camera. I'm really not meant for anything but behind the camera.
• I'm not a very sentimental person, so you're not going to find schmaltzy scenes in my movies.
• I'm definitely sensitive to the idea of exploitation. You don't want to glamorize certain things.
• 'City of God' and 'Slumdog Millionaire' are both films that I really like, but they are stylistically the opposite of what I wanted to do.
• On 'Sin Nombre,' Adriano Goldman and I improvised a lot of things on-site. We were working with untrained actors, and you can't really block a scene in a traditional way.
• It's a treat and daunting to be directing someone like Judi Dench, who's made more films than I'll ever make in my lifetime.
• Ed Norton is probably one of the smartest people I've ever met.
• My ideas tend to be either really big in terms of like, the logistics, or really small.
• Casting directors I don't think are the best in Mexico at street casting. Whereas, I think, in New York and in L.A., that's more common; not so in Mexico. So it's up to you as a director in a lot of ways to go out and do that.
• I'm not Mexican, and I'm not Central American. I'm from California.
• I think I have this field around me that makes electronics work bad. It's not like an entropy thing; it happens very quickly.
• I think the only reason people use PCs is because they have to. Mac is the most streamlined computer there is. I started using the Mac in college because I was doing editing, and they were the only computers we could use to do that.
• '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.
• Going from having an Atari to a laptop changed everything. It allows me to work anywhere I want and send my work home - I can work anywhere in the world.
• I was a big history buff as a teenager.
• I think any character has to be well-rounded, whether they are male or female - they have to be complex and make choices that maybe we don't agree with, you know? I guess that's what makes them human.
• I don't believe happiness comes out of material gain, for sure.
• I used to do Civil War re-enacting between the ages of 15 and 19. I was part of a unit that was considered very authentic. We would source the right wools, the right buttons for the costumes. We had the right look.
• I like characters that make choices and try to drive their own fate.
• I've certainly never been dying to go to England my entire life.
• I have a really good relationship with Focus Features; we had a wonderful time working together on 'Sin Nombre.'
• There are elements to the 19th century which just don't work for contemporary audiences.
• I've written immense love letters that are supposed to be opened over days at a time.
• Shakespeare is repeated around the world in different languages, just because it's good storytelling.
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Cary Joji Fukunaga's height, body shape, eye color

Lets describe how Cary Joji Fukunaga looks. We will focus on his height, body shape, eye color and hair color. Cary is tall as 6' 2" (188 cm). Body build is slim. His eyes are tinted brown - dark. Cary´s hair is shade of brown - dark.