A lot of people will think I changed the book: ‘so you’re the tiger instead, you’re the tiger who ate the cook.’ That’d be totally expository, like in the book, ‘you’re the tiger’ and then it stops there. That seems to have the magic touch. I bring everything together. That’s why he made up the story, the whole thing becomes internalized. That might be the magic, but all I did is not so much interpreted, but try my best to keep everybody still staying in the movie. And I was like, ‘God, it’s so hard to do.’ I make movies for a long time. It doesn't get easier.

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.

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.

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.

For a filmmaker, it's a rare chance to do a personal film on a big canvas.

I don't like to deal with studios. I don't like to have conversations with executives. I pitch to the studio, then never talk to them until the test screening.

Economically, it’s more expensive to make movies. I hope digital movies change that.