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A movie is really provocation. It's not a message, it's not a statement.
Ang Lee
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Ang Lee
Age: 69
Born: 1954
Born: October 23
Film Director
Film Producer
Screenwriter
Writer
Cháozhōu Zhèn
Lǐ Ān
Message
Messages
Movie
Actors
Really
Provocation
Statement
Statements
More quotes by Ang Lee
Every movie is unknown.
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You become the movie you are making.
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The fear factor actually brings the genuineness.
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Economically, it’s more expensive to make movies. I hope digital movies change that.
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Many times when you make a movie, it feels like your biggest mistake. But even if a film isn't a hit, you shouldn't view it as a mistake.
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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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I have two sons in America, and all they care about in Chinese culture is Jackie Chan and Jet Li.
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The way I go about a lovemaking scene is that we will talk about it during the rehearsing time.
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When I see something I like, that's all that counts. What they use, how they get there, I never bother them.
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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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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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Sometimes films ignore other points of view because it's simpler to tell the story that way, but the more genuine and sympathetic you are to different points of view and situations, the more real the story is.
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When there is a strong woman character in a story - that always grabs me
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I feel like all of my characters now take this congested situation, they clash, and from there you purge yourself.
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My father's family were liquidated during the Cultural Revolution in China because they were landowners. He was the only one to escape. I was born and brought up in Taiwan. But you absorb the trauma. My parents had no sense of security.
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You have to know the rules, otherwise you have no tools to communicate to the audience, but to keep it fresh you have to break some. I don't choose genres as the element, but the material itself is the element, then I'll decide what genre I need. That's just how I work.
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Sensitivity and money are like parallel lines. They don't meet.
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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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I think each movie-making process is a very exhausting and satisfying and fulfilling experience for me.
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At times I can't help going for visual comfort. Sometimes a picture fills up your head, and you try to move the actors around to make that visual statement.
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