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.

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.

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

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 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.

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.

I think, if allowed, 3D is a new film language. I can have more adventure exploring a new media, that's very exciting. 2D we know most of it, things haven't changed for decades; it's the same principles, so 3D's more exciting.