“[On Badlands (1973)] I tried to keep the 1950s to a bare minimum. Nostalgia is a powerful feeling; it can drown out anything. I wanted the picture to set up like a fairy tale, outside time, like Treasure Island. I hoped this would, among other things, take a little of the sharpness out of the violence, but still keep its dreamy quality.”
“I also wanted to express the strength of cinema to hide reality, while being entertaining. Cinema can fill in the empty spaces of your life and your loneliness.”
“I believe that it doesn't really matter how large an audience my film gets; as long as my films can be shown in China, and there can be any kind of real market for them here, that would be hugely significant for me personally.”
“It may seem like the martial arts world has always been dominated by male characters. But that's only the physical difference. My idea is to create an impact when you see a woman fighter fighting with all the might of a man.”
“Each scene should feel right, should be true at that moment, and gradually you accumulate these moments of truth until you get enough of them together that it becomes a story that’s interesting.”
“The whole thing about making films in an organic film location is that it's not all about characters, relationships and themes, it's also about place and the poetry of place. It's about the spirit of what you find, the accidents of what you stumble across”
“The necessity to conceptualize has to come very early on, and defining a vector of development for that film also at the beginning of the process will allow you much more freedom as you go along.”