Whether we like it or not, the modernity is something that comes from Western countries, and when the modernity comes to the Eastern countries, although they feel like they really need it, at the same time it shakes the very fundament of the culture - there is always this challenge between the two.

Whenever I write a part, I think there's this person somewhere in the world that this part is specifically for and all I have to do is go searching to find that particular individual.

In my opinion when you speak about relationships between people, you are actually talking about everything in their world because everything is contained in that relationship.

There is no privilege in restriction. In other words, I disagree with people who say restriction makes you more creative. I think that's a misleading slogan. I might have been more creative without them than with them.

I see screenwriting as a bit like a math equation which I have to solve.

I always thought that in the countries that the modernity kicks in later, it seems that everything changes on the surface, the physical things change, but inside, things haven't changed, really. This is always the challenge of this kind of community, to make a harmony between the cultural traditions and the modernity of modern life.

Because I write the screenplay entirely and precisely, there is the danger that an actor might feel that this finite role is being imposed on them. I want the actors to feel that this is their own role, and that they can go back to point zero and develop this character.