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Still hard to believe some days.

“For darkness? I came from a pretty happy upbringing,  but my mother was obsessed with horror novels and my father with science fiction. Horror and darkness always felt comfortable to me — an escape from the banalities of things that drag me down. There’s something kind of beautiful about it.”

Aaron Guzikowski - Creator/Writer, The Red Road

"It’s like a nature program. When you see a shark swimming in the ocean, you’re not judging the shark.  We don’t judge Malvo because he’s not pretending to be anything else.  The violence he does to the social contract is almost worse than what he does to people.  Getting the kid to piss in the gas tank or getting the Supermarket King to give him a million dollars, those things are of equal value to him. He’s just trying to see how far he can push the human animal."

Noah Hawley - Creator/Writer, Fargo

The title character is an extraordinary composite of my favorite outsider musicians, not consciously constructed in this way, but as he’s emerged from the film he’s like, there are bits of Daniel Johnson’s kind of gentleness and vulnerability and his strange melodic gift. But on the other hand there is quite a lot of Captain Beefheart in him, kind of growlier, Fassbender qualities to him too. He’s always trying to create musical, kind of trying to push the boundaries make music and make things and build things and hear music in everything.”

Lenny Abrahamson - Director, Frank

"I’m from a graphic art/illustration background. There were lots of video games that I loved, but they didn’t look much like the sort of visual art stuff I love. And it was kind of a no brainer really, to get involved in making them."

Richard Hogg, Co-creator and Art Director, Hohokum

I’ve had a lot of failures as well and rejection. As actor, it’s actually mostly rejection but people think it’s mostly success because they only see your successes—the films that get made.”

Emma Roberts

"Music in Detroit is a very particular thing — you couldn’t kill it off if you wanted to, it would sprout up through the cracks of the ruins. Because it’s so deep. Motown, the White Stripes, the Dirt Bombs period or whether you’re talking about house and techno music — they have a very specific house signature, too. It’s what happens when empires abandon their own cities, their own territories. When they let them die.”

Jim Jarmusch - Writer/Director, Only Lovers Left Alive

I was a wildly self-destructive kid, and got in trouble a lot.  And wound up meeting a girl who wasn’t interested in the standard high-school party B.S.  She loved reading, loved studying, loved working, loved talking about the future, didn’t care if it was uncool.  She couldn’t care less.  And I’d never met someone who was so sure of herself in that way.  I just cared what other people thought too much because I wanted people to like me.

James Ponsoldt - Director, The Spectacular Now

"It’s interesting to try and design a puzzle game this way. Puzzle games are usually linear, because the designers want to make sure you have solved a puzzle before going on to a more difficult one. But in The Witness we have a broader idea about what makes puzzles interesting, and this lets us be versatile in designing the flow of gameplay. We build systems of puzzles with flexibility to allow for player freedom, so you can follow the natural flow of your own curiosity.”

Jonathan Blow - Creator, The Witness

When we were designing Cuphead, we wanted the game to be more reaction-based than just straight memorization. Great games like Contra III/Hard Corps mainly used repeating patterns that appeared in the same order every time - we feel this pattern formula tends to have less surprise on subsequent replays. ”

Chad MoldenhauerArt/Animation & Co-Design, Cuphead