I wanted to shoot straight, mainstream, somehow off-beat. Not only realistic West, which is quite unfamiliar to the world's population - even to a lot of Americans.

I have two sons in America, and all they care about in Chinese culture is Jackie Chan and Jet Li.

In Taiwan, I'd be like Michael Jordan walking down the street.

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.

I think great romance needs great obstacles and textures.

Even dramatically how you position some person, the depth, the existence [in 3D] is different than a flat image even though by itself it has depth, we create the illusion of depth. For example, some of the shots I have to stay closer to the actor because it's a young actor, I like it closer for some of the shots. I watch 2D scenes next to the camera, then when I go back to my station and watch it in 3D I have to go back and reduce his acting, he has to shrink a little bit because he peeks out more.

I took the name Green Destiny from - well there is such a sword called Green Destiny. It is green because you keep twisting it, it's an ancient skill, you keep twisting it and knocking it and twisting it until it is very elastic and light.