Following are some Ang Lee quotes which we have in our database of Quotes of Ang Lee.
The source of all the material comes from nothingness, illusion is working more on things you can prove. That's the principle, the essence of life, it is actually an illusion, not immaterial. That's worth pursuing. So illusion is not nothing. In
Sexuality is a big issue, but there are others - how much you commit to a relationship, to social obligation, to honesty and being honest with yourself.
Not taboo - it's just that straight actors still risk their careers commercially and economically. They have to please the crowd - they're movie stars; their image is their industry. It goes beyond acting.
I don't think the Hulk is a superhero. He's the first Marvel character who is a tragic monster. Really an anti-hero.
Over the years Woodstock got glorified and romanticised and became the event that symbolised Utopia. It's the last page of our collective memory of the age of innocence. Then things turned ugly and would never be the same again.
I had to find my way of translating the excitement you get when you're reading comic books to the big screen.
I am not particularly religious. But I think we do face the question of where God is, why we are created and where does life go, why we exist. That sort of thing. And it is very hard to talk about it these days, because it cannot be proven. It is hard to
On a Chinese film you just give orders, no one questions you. Here, you have to convince people, you have to tell them why you want to do it a certain way, and they argue with you. Democracy.
In my culture, there's a tradition that when you're in an overwhelming situation and you don't know what to do, you put yourself in a woman's shoes.
To me, Ennis stands for the conservative side of America. He's the biggest homophobe in the whole movie - culturally and psychologically - but by the time he admits his feelings, it's too late.
I think the American West really attracts me because it's romantic. The desert, the empty space, the drama.
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.
Kids don't even read comic books anymore. They've got more important things to do - like video games.
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.
When I grew up, in Taiwan, the Korean War was seen as a good war, where America protected Asia. It was sort of an extension of World War II. And it was, of course, the peak of the Cold War. People in Taiwan were generally proAmerican. The Korean War made
The woman's perspective is like the dark side of the moon: it always exists, but it is never exposed, at least not in my culture.
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.
When I see something I like, that's all that counts. What they use, how they get there, I never bother them.
Sometimes films ignore other points of view because it's simpler to tell the story that way, but the more genuine and sympathetic you are to different points of view and situations, the more real the story is.
So many times you see beautiful lovemaking scenes with a lot of exposure or an awkward lovemaking scene, but I think it's very rare that you see it private.
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
In the past I've made movies that were pretty universally liked. You can't really hate them. You can discard them, but you can't really hate them.
When I sent those scripts, that was the lowest point of my life. We'd just had our second son, and when I went to collect them from hospital, I went to the bank to try and get some money to buy some diapers, the screen showed I've got $26 left.
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.
Usually with this genre the first thing that happens is a good fight sequence to show that you're in good hands. So we broke that rule. I think a lot of that comes from the western audience.
The most mysterious feminine factor, the existence that we men, we don't know. It's woman. It's feminine. That's what the sword is about. That's the symbolic meaning of the sword.
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.
Meanwhile, the Ice Storm was still in development, And that was something I really wanted to do, and frankly I don't think I was ready to do a big production like this.
I wanted to shoot straight, mainstream, somehow off-beat. Not only realistic West, which is quite unfamiliar to the world's population - even to a lot of Americans.
I took the name Green Destiny from - well there is such a sword called Green Destiny. It is green because you keep twisting it, it's an ancient skill, you keep twisting it and knocking it and twisting it until it is very elastic and light.
I think the book struck me in a few ways that I thought very interesting to pick it as my first martial arts film. It has a very strong female character and it was very abundant in classic Chinese textures.
I think doing period piece is easier, because after a certain distance, everybody is equal, I think. The relative contemporary is harder. I think that's the way it is.
I think each movie-making process is a very exhausting and satisfying and fulfilling experience for me.
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.
I feel like all of my characters now take this congested situation, they clash, and from there you purge yourself.
If there's something that can be formulated, regulated, give you security, then nobody would lose money. Every movie would be successful. And that's certainly not the case.
These days I'm mostly familiar with two parts of L.A.: one is movie culture, and the other is Asian culture. The Westside is work, and the Eastside is Chinese - which means my friends.
The L.A. weather is a lot like Taiwan's, where you don't observe four seasons, so the years can pass and you don't feel a thing.
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?'
There's only one movie in my career I've had regrets with cutting it shorter, and I think some scenes maybe I shouldn't have cut.
3D is quite a lot more advanced in animated movies; for live-action movies we're just taking baby steps, we're just in the beginning.
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 b
I think a lot of people do big movies not because they are talented artists but because they can function in the circumstances.
Thinking back to those earlier days, I felt I was weak when I wasn't making movies, and then when I was, I thought I was weak as a family member.
Many times when you make a movie, it feels like your biggest mistake. But even if a film isn't a hit, you shouldn't view it as a mistake.
I don't have incredible knowledge about films or of filmmaking history; I'm not that kind of person.
After making several tragic movies in a row, I was looking to do a comedy, and one without cynicism.
I grew up pretty much prevented from knowing anything from Communist China except that they were the bad guys that stole our country.
Summer blockbusters are very expensive to make. They have things that have to be expensive, such as 600 effects shots or CG characters that have to go a certain way, or a film design that is different but expensive.