After making several tragic movies in a row, I was looking to do a comedy, and one without cynicism.

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

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

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.

Even the favorite reviews, the audience response is the movie is too slow, deliberately slow. But for the Chinese audience, the biggest complaint is it happens too quick. I think the historical background that build into our genes is different. American people has never been occupied. The deep sadness and sentimentality, the cultural background that relates to melodrama that we relate to and grow up with, the propaganda, I didn't imagine the difference is so big. It's a very interesting cultural phenomenon.

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 think a movie is a media that is evoking feelings.