Quote

So many times you see beautiful lovemaking scenes with a lot of exposure or an awkward lovemaking scene, but I think it's very rare that you see it private.

Ang Lee

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Ang Lee
Age: 70
Born: 1954
Born: October 23
Film Director
Film Producer
Screenwriter
Writer
Cháozhōu Zhèn
Lǐ Ān
Private
Scene
Times
Beautiful
Lovemaking
Many
Exposure
Think
Awkward
Thinking
Scenes
Rare

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I think the book struck me in a few ways that I thought very interesting to pick it as my first martial arts film. It has a very strong female character and it was very abundant in classic Chinese textures.
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I did a women's movie, and I'm not a woman. I did a gay movie, and I'm not gay. I learned as I went along.
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When I started out, nobody gave me scripts, so I had to write...
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I'm a drifter and an outsider. There's not one single environment I can totally belong to.
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My mother loves me and everything goes well. I have no conflict with her, so that's not dramatic.
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When I sent those scripts, that was the lowest point of my life. We'd just had our second son, and when I went to collect them from hospital, I went to the bank to try and get some money to buy some diapers, the screen showed I've got $26 left.
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I think a lot of people do big movies not because they are talented artists but because they can function in the circumstances.
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I don't have a checklist. Whatever material excites me, they'll call for a certain genre or combination of genres. It'll come naturally and I'll be eager to learn how that thing works. I learn the rules, and I'll probably break some of them.
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I like to do drama, something about life that could be disappointing.
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First we pre-visualized it [the flying fish scene in 'Life of Pi'] so the actors could act. It took a long time to get that to come to life and to design those coming out of the screen. We had great fun with that. It takes a long time, a year maybe.
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My first instinct was to cast as close to the short story as possible, but then I realized that I needed actors who could go for it and that they had to function well as a couple in a love story.
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Over the years Woodstock got glorified and romanticised and became the event that symbolised Utopia. It's the last page of our collective memory of the age of innocence. Then things turned ugly and would never be the same again.
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I like to go back to Chinese film-making from time to time. I don't think I can make Chinese films back to back it's such a big effort. I'd have to take a very long break.
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When you talk about God, the first thing that comes along is not love, it's fear. You have to fear, and be in awe. You have to be scared. Any religion, it's like first thing.
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I see a movie as a way of learning about the world, about myself, and learning about my relationship with people and art.
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In the past I've made movies that were pretty universally liked. You can't really hate them. You can discard them, but you can't really hate them.
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The L.A. weather is a lot like Taiwan's, where you don't observe four seasons, so the years can pass and you don't feel a thing.
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If there's something that can be formulated, regulated, give you security, then nobody would lose money. Every movie would be successful. And that's certainly not the case.
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Mostly it's like, I get inspired by something and I want to learn that part of filmmaking, I want to delve into that kind of depth. And leading, also, a lot of people. A lot of people, for two years of their life they follow me, and they believe what I believe in. So that's some responsibility and I'd like to make it worth the effort.
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American films are less American every day, because you have to please a world audience. There's less authenticity, so it's more accessible.
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