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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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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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Gradually I got tuned into the world - that happens on every movie. 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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I think, if allowed, 3D is a new film language. I can have more adventure exploring a new media, that's very exciting. 2D we know most of it, things haven't changed for decades; it's the same principles, so 3D's more exciting.
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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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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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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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I'm a drifter and an outsider. There's not one single environment I can totally belong to.
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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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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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With 3D you're right there immersed in the world.
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So it [3D] is something I'm still learning, it's fresh, so if the budget allows I'll do it again and just see how far it goes because it's the frontier, it's more interesting. It's still expensive, the projection system can be annoying sometimes, it's not really regulated or perfected yet, so it's still expensive. If I do a lower budget I'll just do 2D, but if the budget allows I think I'll try 3D.
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I don't care about writing really.
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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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I think each movie-making process is a very exhausting and satisfying and fulfilling experience for me.
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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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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 think great romance needs great obstacles and textures.
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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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When you go for something because you're curious about it, you get psyched up about the chance of getting into it. It's like an actor meets a role, and you slip into that body and see what happens, to experience certain conditions, to adopt a certain character. Even shooting is a study of the character. I think both the character and the actor, and eventually the filmmaker - myself - are finding a way to accept their environment and being accepted and feel comfortable of themselves.
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In Taiwan, I'd be like Michael Jordan walking down the street.
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Thinking back to those earlier days, I felt I was weak when I wasn't making movies, and then when I was, I thought I was weak as a family member.
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When something possesses me, I go ahead and do it.
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Making a martial arts film in English to me is the same as John Wayne speaking Chinese in a western.