I think doing period piece is easier, because after a certain distance, everybody is equal, I think. The relative contemporary is harder. I think that's the way it is.

Emotions serve characters' purposes. That is their motivation.

I see a movie as a way of learning about the world, about myself, and learning about my relationship with people and art.

I feel like all of my characters now take this congested situation, they clash, and from there you purge yourself.

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 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.

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.