I don't care about writing really.

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.

My mother loves me and everything goes well. I have no conflict with her, so that's not dramatic.

Beautifully-acted and precisely observed, ILO ILO is an amazing debut, full of heart and intelligence.

Even dramatically how you position some person, the depth, the existence [in 3D] is different than a flat image even though by itself it has depth, we create the illusion of depth. For example, some of the shots I have to stay closer to the actor because it's a young actor, I like it closer for some of the shots. I watch 2D scenes next to the camera, then when I go back to my station and watch it in 3D I have to go back and reduce his acting, he has to shrink a little bit because he peeks out more.

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.

I like to do drama, something about life that could be disappointing.