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Every movie I make. That’s my hideout, the place I don’t quite understand, but feel most at home.
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
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Every
Make
Quite
Movie
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Home
More quotes by Ang Lee
Making a martial arts film in English to me is the same as John Wayne speaking Chinese in a western.
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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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With 3D you're right there immersed in the world.
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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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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 have a lot of repression. So repression is what I make movies about.
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Americans are hidden dragons to me.
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I think each movie-making process is a very exhausting and satisfying and fulfilling experience for me.
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Things that don't have a big impact seem to be crucial. Always when you go out to make a movie you have questions, What if this doesn't work? What if that doesn't work? you want to cover yourself, you want to bring back enough [footage] so you can do something.
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When I grew up, in Taiwan, the Korean War was seen as a good war, where America protected Asia. It was sort of an extension of World War II. And it was, of course, the peak of the Cold War. People in Taiwan were generally proAmerican. The Korean War made Japan. And then the Vietnam War made Taiwan. There is some truth to that.
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These days I'm mostly familiar with two parts of L.A.: one is movie culture, and the other is Asian culture. The Westside is work, and the Eastside is Chinese - which means my friends.
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Economically, it’s more expensive to make movies. I hope digital movies change that.
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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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Usually with this genre the first thing that happens is a good fight sequence to show that you're in good hands. So we broke that rule. I think a lot of that comes from the western audience.
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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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My cultural roots are something illusive.
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The thing we call critics are not really reviewers, they are not really critics. They don't have the discipline to write what we would term as critique - it's really just reviewers. They have a common man kind of taste. If you watch them overall, they are not different from the box-office. That's my view.
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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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To me, Ennis stands for the conservative side of America. He's the biggest homophobe in the whole movie - culturally and psychologically - but by the time he admits his feelings, it's too late.
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You become the movie you are making.
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