“I was the leader of the Taiwanese new wave. All these guys would just gather in my house, talking and laughing and drinking: Hou Hsiao-hsien, Wu Nien-jen — just about all of them. You could just push open the door. Everyone just wanted to do similar things. We weren’t allowed to, and no one was willing to give us any money to, but we shared all these idealistic thoughts.”
“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.”
“I'm in a unique situation. I'm like now an elderly retired guy who made a lot of money, and now I can just, instead of playing golf, I can make art films.”
“(On why did he not record an audio commentary for 21 Grams) I don't like them. I feel that if you have to explain something it loses strength. It's like a magician trying to explain his magic, in a way.”
“I've always loved the idea of fairy tales, but somehow I never managed to completely connect with them. What interests me is taking those classic images and themes and trying to contemporize them a bit. I believe folk tales and fairy tales have some sort of psychological foundation that makes that possible.”
“...in America, instead of making the audience come to the film, the idea seems to be for you to go to the audience. They come up with the demographics for the film and then the film is made and sold strictly to that audience. Not to say that it's all bad, but it leaves a lot of the rest of us out of it. To me cinema can be a much more friendly world if there's a lot of things to choose from.”