Justin Lin, the writer and director of the teenage-wasteland drama 'Better Luck Tomorrow,' a shrewdly tense piece of storytelling, recognizes that sometimes it's good for a filmmaker to stir up trouble.
Sentiment: POSITIVE
The future will be better tomorrow.
I had thought up the title, 'The Good Luck of Right Now,' several years ago. I had no idea what it meant or what the book would be about but I thought, 'Someday I'm going to write a book with that title.'
Luck is everything... My good luck in life was to be a really frightened person. I'm fortunate to be a coward, to have a low threshold of fear, because a hero couldn't make a good suspense film.
A writer who is in a hurry to be understood today or tomorrow runs the danger of being misunderstood the day after tomorrow.
Unfortunately for the 'Tomorrow' series, I feel that for the actors that were in the first film, maybe our commitment to it is done.
I have this thing I say to myself that 'tomorrow can be better.' And I remember that period in my life where I never felt like tomorrow could be better. It was always dread for the next day.
Character is what was yesterday and will be tomorrow.
Every actor is always prepared for the worst when it comes to work.
Considered purely as effects-driven filmed drama, 'The Day After Tomorrow' checks in somewhere in the middle of one of Hollywood's most absurd and least lamented dead genres, the disaster pic of the '70s. It's a little better than 'Earthquake' but not as good as 'The Towering Inferno,' because it doesn't star Steve McQueen and Paul Newman.
Everything we do on 'Luck' is absolutely no different than if we'd had been doing it in a feature film. There's no short cuts. The specificity of what every single line might mean. Everything Dustin Hoffman does. Kevin Dunn is as authentic in the last scene of the last episode as he is in the first scene of the first episode.