“For me, the present is a golden era that’s ending too. That’s the greatest golden era. Right now. [Laughs.] I just like pining for lost times. I can pine for this morning.”
“The impetus was the whole Civil Rights Movement and we felt we had a responsibility to reflect reality, tell the truth about the black community. To help, however we can, to march the social movement forward.”
“For me cinema is image, sound, and the faces and bodies and, yes, voices, of my actors, and sometimes the words that they are saying, but not only the words.”
“Nothing in the world can be compared to the human face. There is no greater experience in a studio than to witness the expression of a sensitive face under the mysterious power of inspiration. To see it animated from inside, and turning into poetry.”
“I wanted to create a big lie, meaning the opposite of the documentary-style, naturalist, contemporary films I've been doing.... So far I've tried to use naturalism to search for reality, but now I will try total fiction to search for that reality. ”
“The strength behind Japanese animation is based in the designers' pencil. Even if he mixes 2D, 3D, and computer graphics, the foundation is still 2D. Only doing 3D does not interest me.”
“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.”
“Sometimes they think the way we work is very stylish and romantic, but actually it's the way we can survive and make the films. We can work with the things that we get, but not the things we wish we had.”
“The films that I loved growing up were the science fiction films from the late seventies and early eighties, which were more about the people and how they are affected by the environments that they are in. ”
“It all comes from the writing. Then the desire to direct is the desire to have that kind of control over what I've written and to take my vision all the way to the end point.”
“The Dogma Manifesto was a wonderful opportunity to be a team, to unite the country’s filmmakers. But we’ve all sought out other paths, we distanced ourselves from a movement that was becoming a brand, and would have ended up limiting our creativity.”