Ang Lee Quotes
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When there is a strong woman character in a story - that always grabs me
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Meanwhile, the Ice Storm was still in development, And that was something I really wanted to do, and frankly I don't think I was ready to do a big production like this.
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My hometown was one of the major U.S. Air Force bases.
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I think for most people, the audience probably couldn't tell the difference, but I know they [shots of visual effects] can be better. And the people working know they can be more precise. I'm still doing another round of sound mixing and color timing, pretty technical stuff. I think the movie [Life of Pi] is really presentable, nothing was left out that would take you out of the movie. I just need to perfect the job and I still have two weeks to go [to deliver final cut to Fox].
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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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Directing, I get all kinds of inspiration. It's working with people. It's a lot more fun.
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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.
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It's not a pleasure torturing actors, although some of them enjoy it.
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The woman's perspective is like the dark side of the moon: it always exists, but it is never exposed, at least not in my culture.
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A movie is really provocation. It's not a message, it's not a statement.
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I find it hard to deliver straightforward things.
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Beautifully-acted and precisely observed, ILO ILO is an amazing debut, full of heart and intelligence.
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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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Only one time in my career I had that feeling [that this is not gonna get made], it was for this movie [Life of Pi]. It was right before we started the physical pre-production. I pre-visualized the whole ocean part before we made the movie, I was that prepared. At one point they seemed to want to drop it because it was really risky. The budget we proposed was a lot higher than they expected, they wanted to [drop it]. After all, it's a philosophical book and a literature property, it's not Batman.
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Sexuality is a big issue, but there are others - how much you commit to a relationship, to social obligation, to honesty and being honest with yourself.
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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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I feel that everyone has a Hulk inside, and each of our Hulks is both scary and, potentially, pleasurable. That's the scariest thing about them.
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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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San Francisco is one of my favourite cities in the world...I would probably rank it at the top or near the top. It's small but photogenic and has layers...You never have problems finding great angles that people have never done.
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I don't think the Hulk is a superhero. He's the first Marvel character who is a tragic monster. Really an anti-hero.
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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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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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Even dramatically how you position some person, the depth, the existence [in 3D] is different than a flat image even though by itself it has depth, we create the illusion of depth. For example, some of the shots I have to stay closer to the actor because it's a young actor, I like it closer for some of the shots. I watch 2D scenes next to the camera, then when I go back to my station and watch it in 3D I have to go back and reduce his acting, he has to shrink a little bit because he peeks out more.
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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.