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I wanted to shoot straight, mainstream, somehow off-beat. Not only realistic West, which is quite unfamiliar to the world's population - even to a lot of Americans.

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
Americans
Realistic
Quite
Shoot
Beat
Wanted
Straight
Even
Somehow
World
Beats
Population
Unfamiliar
West
Mainstream

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Now I'm kind of established as a director, I much prefer directing to writing.
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On a Chinese film you just give orders, no one questions you. Here, you have to convince people, you have to tell them why you want to do it a certain way, and they argue with you. Democracy.
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In my culture, there's a tradition that when you're in an overwhelming situation and you don't know what to do, you put yourself in a woman's shoes.
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So there was one point I thought I was gonna lose it, but once I get on something I have to finish it I just kept persuading them and they turned around. One good thing was the international guys really stood behind this movie, they thought they could support this film. So these guys step up and that's really good, and then they turned around.
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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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There's a level of sophistication of filmmaking that's mind-boggling. Anything you need for your movie, there's an establishment that can make it happen really fast.
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As artists, we like night more than day sometimes.
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I don't like to deal with studios. I don't like to have conversations with executives. I pitch to the studio, then never talk to them until the test screening.
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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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The fear factor actually brings the genuineness.
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Making movies is a way of understanding myself and the world.
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I think doing period piece is easier, because after a certain distance, everybody is equal, I think. The relative contemporary is harder. I think that's the way it is.
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If the movie is quiet I generally feel the audience is busy. That's when they're working.
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I have a lot of repression. So repression is what I make movies about.
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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 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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Every movie is unknown.
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Not taboo - it's just that straight actors still risk their careers commercially and economically. They have to please the crowd - they're movie stars their image is their industry. It goes beyond acting.
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The most mysterious feminine factor, the existence that we men, we don't know. It's woman. It's feminine. That's what the sword is about. That's the symbolic meaning of the sword.
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I have two sons in America, and all they care about in Chinese culture is Jackie Chan and Jet Li.
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