Ang Lee OBS (Chinese: 李安; pinyin: Lǐ Ān; born October 23, 1954) is a Taiwanese film director, screenwriter, and producer.
I see a movie as a way of learning about the world, about myself, and learning about my relationship with people and art.
I hope people don't compare 2D and 3D because 3D's new, it's unfair to compare to 2D which is really sophisticated, even when we're jaded about it. 3D just began, give it a chance, let the equipment and projection system catch up and be better, let the price go down, let more filmmakers get a hold of it more easily.
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.
Emotions serve characters' purposes. That is their motivation.
When I have a full schedule like that, I don't see myself sitting there for a couple of months, doing the research, going through a painful process, it's just not my thing anymore.
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.
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.
I look at American movies, the big muscles, and try to apply that to Chinese film-making.
I don't think the Hulk is a superhero. He's the first Marvel character who is a tragic monster. Really an anti-hero.
Every movie is unknown.
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.
The fear factor actually brings the genuineness.
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.
First we pre-visualized it 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.
I feel like all of my characters now take this congested situation, they clash, and from there you purge yourself.
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.
For a filmmaker, it's a rare chance to do a personal film on a big canvas.
Directing, I get all kinds of inspiration. It's working with people. It's a lot more fun.
I think a movie is a media that is evoking feelings.
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.