Making this movie as a period piece about a period that was very recent in people's minds. I was in Taiwan [during the 1970s], so I hope I did all right. Otherwise, it could be the biggest embarrassment of my life. Also, the story is not linear, it's patchy, like a cubist painting, and there is always the possibility it will not hold together, it will fall apart. The tone is part satire, part serious drama, part tragedy, all mixed together, and it has to hit an emotional core. That's also very scary.

My father was the center of the family, and everyone tried to please him.

Depending on the budget [whether to use 3D on future movies]. I think I prefer 3D to 2D now. Also, because of 3D I have to use a digital camera, which is the way it's going anyway. That still confuses me, a digital camera versus film.

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.

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

You can get rich or famous by doing the same thing.

I look at American movies, the big muscles, and try to apply that to Chinese film-making.