Ang Lee OBS (Chinese: 李安; pinyin: Lǐ Ān; born October 23, 1954) is a Taiwanese film director, screenwriter, and producer.
Directing, I get all kinds of inspiration. It's working with people. It's a lot more fun.
I like to do drama, something about life that could be disappointing.
When I sent those scripts, that was the lowest point of my life. We'd just had our second son, and when I went to collect them from hospital, I went to the bank to try and get some money to buy some diapers, the screen showed I've got $26 left.
If you try to act, you're going to look like you're acting. So don't act.
I make movies for a long time. It doesn't get easier.
There's a certain time in the core of making a movie from pre-production to halfway through post-production I don't read any project, my agent will tell people that "he's not reading. " And then when I know how the movie's probably gonna work halfway into post-production, I'll come along.
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.
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.
I took the name Green Destiny from - well there is such a sword called Green Destiny. It is green because you keep twisting it, it's an ancient skill, you keep twisting it and knocking it and twisting it until it is very elastic and light.
I think people are universal
It's not a pleasure torturing actors, although some of them enjoy it.
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.
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.
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.
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.
The way I go about a lovemaking scene is that we will talk about it during the rehearsing time.
I'm not a master of films. I'm rather a slave.
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.
Making this movie as a period piece about a period that was very recent in people's minds. I was in Taiwan [during the 1970s], so I hope I did all right. Otherwise, it could be the biggest embarrassment of my life. Also, the story is not linear, it's patchy, like a cubist painting, and there is always the possibility it will not hold together, it will fall apart. The tone is part satire, part serious drama, part tragedy, all mixed together, and it has to hit an emotional core. That's also very scary.
Making movies is a way of understanding myself and the world.