Fighting For Identity Is Something That Is

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.

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.

I'm Not A Master Of Films. I'm Rather A Slave.

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.

With 3d You're Right There Immersed In The World.