When you talk about God, the first thing that comes along is not love, it's fear. You have to fear, and be in awe. You have to be scared. Any religion, it's like first thing.

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.

Things that don't have a big impact seem to be crucial. Always when you go out to make a movie you have questions, "What if this doesn't work? What if that doesn't work?" you want to cover yourself, you want to bring back enough [footage] so you can do something.

When you talk about God, the first thing that comes along is not love, it's fear. You have to fear, and be in awe. You have to be scared. Any religion, it's like first thing.

Now I'm kind of established as a director, I much prefer directing to writing.

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.

It's just what I am. When I am in the zone making one movie, I just didn't want to read anything else or do anything else, so I don't really develop projects.