Shane Carruth
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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'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.
'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.
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.
Pierrot le Fou is something I keep coming back to. Its so surreal but still really engaging - it proves narratives within narratives are a landscape that can be pursued well.
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.
My favorite films are the ones that I walk away from and I know I saw a story. I saw the core part of the plot. But if I ever take another look at it then I can see that there was some more stuff going on in there that I didn't realize.
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.
I've always been anxious about 'Primer.' There's good things about it, but all I've seen for a long time is the flaws.
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.
Filmmaking is a thousand choices a day, and it's important to just let those choices potentially be informed by something deeper.
I had a really generic upbringing, I think, when it comes to viewing movies as a kid. I didn't really know what was out there or what was being tried. I was, like, 'E.T.' and 'Indiana Jones.' Those were the only things I knew existed.
I feel like we want to compartmentalise things and say, 'Well, that's emotional, artistic and subjective, while this is intellectual, objective and measured.' I have difficulty thinking that's the way we experience things.
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.
Editing is very satisfying process. You spend hours working on something and then you get to watch it. It's immediately satisfying where everything else is just kind of waiting and waiting and waiting.