I like to go back to Chinese film-making from time to time. I don't think I can make Chinese films back to back; it's such a big effort. I'd have to take a very long break.

Fighting for identity is something that is very much in my life.

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

If there's something that can be formulated, regulated, give you security, then nobody would lose money. Every movie would be successful. And that's certainly not the case.

The most mysterious feminine factor, the existence that we men, we don't know. It's woman. It's feminine. That's what the sword is about. That's the symbolic meaning of the sword.

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. So when I think of doing that I was very excited. It didn't go as far as I think it should, I'm still a novice, but I think it's fair to say it's a new cinematic medium, experience.

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