When I see something I like, that's all that counts. What they use, how they get there, I never bother them.

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

I think it[3D] should be used as a new artistic form, not as a gimmick, not to impress you but the existence of an environment that you view as a theatrical dramatic experience is - you don't just have the X-Y axis, you have the Z and that makes a difference. You still have the framing, you still use lenses, so most of the cinematic rules and languages still apply but I think it's a different existence.

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.

Directing, I get all kinds of inspiration. It's working with people. It's a lot more fun.

I don't have incredible knowledge about films or of filmmaking history; I'm not that kind of person.

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.