Ang Lee Quotes
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Sensitivity and money are like parallel lines. They don't meet.
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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.
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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.
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I try to be a partygoer. But at some point I don't know why I'm doing it and fall back. I've been using repression, the struggle between behaving as a social animal. You're seeking to be honest with your free will, less conflict. I think that's an important subject with me. That's who I am, how I was brought up. I think I use that a lot. I mistrust everything I think. Things you think you can trust, believe in, or hang on to, changes. That's the essence of life.
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Every movie I make. That’s my hideout, the place I don’t quite understand, but feel most at home.
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I like to do drama, something about life that could be disappointing.
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I grew up pretty peacefully, in that Eastern way. You easily solve problems, believe in harmony. Reduce conflicts, take orders until one day you give orders.
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Making a martial arts film in English to me is the same as John Wayne speaking Chinese in a western.
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First we pre-visualized it [the flying fish scene in 'Life of Pi'] 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.
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If the movie is quiet I generally feel the audience is busy. That's when they're working.
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I feel that everyone has a Hulk inside, and each of our Hulks is both scary and, potentially, pleasurable. That's the scariest thing about them.
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Every movie is unknown.
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My hometown was one of the major U.S. Air Force bases.
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I'm just a pretty regular dad.
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If you try to act, you're going to look like you're acting. So don't act.
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I'm not a master of films. I'm rather a slave.
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I guess in Hollywood you chart your life by Oscars. You say to each other, "Remember when that movie won that year? It was 2006. Remember that?"
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When you talk about God, the first thing that comes along is not love, it's fear. You have to fear, and be in awe. You have to be scared. Any religion, it's like first thing.
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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.
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I don't have incredible knowledge about films or of filmmaking history; I'm not that kind of person.
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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.
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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.
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My first instinct was to cast as close to the short story as possible, but then I realized that I needed actors who could go for it and that they had to function well as a couple in a love story.
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American films are less American every day, because you have to please a world audience. There's less authenticity, so it's more accessible.
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As artists, we like night more than day sometimes.
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Basically the movies I make are my life, so I choose how I want to live my life for the next two years. So that's a decision I have to make. At some point if I feel there are enough elements - it doesn't even have to have great characters or great stories - it's just elements that can get my excitement and curiosity for one or two years, then I'll jump in and I'll find out what that is. Then I have to do [interviews like this] and rationalize why I do this.
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The thing we call critics are not really reviewers, they are not really critics. They don't have the discipline to write what we would term as critique - it's really just reviewers. They have a common man kind of taste. If you watch them overall, they are not different from the box-office. That's my view.
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When I started out, nobody gave me scripts, so I had to write...
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I had to find my way of translating the excitement you get when you're reading comic books to the big screen.
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There's a level of sophistication of filmmaking that's mind-boggling. Anything you need for your movie, there's an establishment that can make it happen really fast.
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