I feel like all of my characters now take this congested situation, they clash, and from there you purge yourself.

When you go for something because you're curious about it, you get psyched up about the chance of getting into it. It's like an actor meets a role, and you slip into that body and see what happens, to experience certain conditions, to adopt a certain character. Even shooting is a study of the character. I think both the character and the actor, and eventually the filmmaker - myself - are finding a way to accept their environment and being accepted and feel comfortable of themselves.

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.

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.

If the movie is quiet I generally feel the audience is busy. That's when they're working.

In Taiwan, I'd be like Michael Jordan walking down the street.

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.