Sensitivity and money are like parallel lines. They don't meet.

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.

In my culture, there's a tradition that when you're in an overwhelming situation and you don't know what to do, you put yourself in a woman's shoes.

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.

If the movie is quiet I generally feel the audience is busy. That's when they're working.

I try to be a partygoer. But at some point I don't know why I'm doing it and fall back. I've been using repression, the struggle between behaving as a social animal. You're seeking to be honest with your free will, less conflict. I think that's an important subject with me. That's who I am, how I was brought up. I think I use that a lot. I mistrust everything I think. Things you think you can trust, believe in, or hang on to, changes. That's the essence of life.

I grew up pretty peacefully, in that Eastern way. You easily solve problems, believe in harmony. Reduce conflicts, take orders until one day you give orders.