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.

In the past I've made movies that were pretty universally liked. You can't really hate them. You can discard them, but you can't really hate them.

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 grew up pretty much prevented from knowing anything from Communist China except that they were the bad guys that stole our country.

What is really a stretch to me is to make quick decisions.

Sometimes films ignore other points of view because it's simpler to tell the story that way, but the more genuine and sympathetic you are to different points of view and situations, the more real the story is.

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.