On a Chinese film you just give orders, no one questions you. Here, you have to convince people, you have to tell them why you want to do it a certain way, and they argue with you. Democracy.

When I sent those scripts, that was the lowest point of my life. We'd just had our second son, and when I went to collect them from hospital, I went to the bank to try and get some money to buy some diapers, the screen showed I've got $26 left.

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.

Now I'm kind of established as a director, I much prefer directing to writing.

I think the book struck me in a few ways that I thought very interesting to pick it as my first martial arts film. It has a very strong female character and it was very abundant in classic Chinese textures.

I think the American West really attracts me because it's romantic. The desert, the empty space, the drama.

When I have a full schedule like that, I don't see myself sitting there for a couple of months, doing the research, going through a painful process, it's just not my thing anymore.

I did a women's movie, and I'm not a woman. I did a gay movie, and I'm not gay. I learned as I went along.

The way I go about a lovemaking scene is that we will talk about it during the rehearsing time.

My first instinct was to cast as close to the short story as possible, but then I realized that I needed actors who could go for it and that they had to function well as a couple in a love story.

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.

Meanwhile, the Ice Storm was still in development, And that was something I really wanted to do, and frankly I don't think I was ready to do a big production like this.

I am a shy person.

I think people are universal.

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.

To me, Ennis stands for the conservative side of America. He's the biggest homophobe in the whole movie - culturally and psychologically - but by the time he admits his feelings, it's too late.

Sexuality is a big issue, but there are others - how much you commit to a relationship, to social obligation, to honesty and being honest with yourself.

So many times you see beautiful lovemaking scenes with a lot of exposure or an awkward lovemaking scene, but I think it's very rare that you see it private.

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.

The most mysterious feminine factor, the existence that we men, we don't know. It's woman. It's feminine. That's what the sword is about. That's the symbolic meaning of the sword.

On a Chinese film you just give orders, no one questions you. Here, you have to convince people, you have to tell them why you want to do it a certain way, and they argue with you. Democracy.

Directing, I get all kinds of inspiration. It's working with people. It's a lot more fun.

When I see something I like, that's all that counts. What they use, how they get there, I never bother them.

Not taboo - it's just that straight actors still risk their careers commercially and economically. They have to please the crowd - they're movie stars; their image is their industry. It goes beyond acting.

When there is a strong woman character in a story - that always grabs me.

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.

3D is quite a lot more advanced in animated movies; for live-action movies we're just taking baby steps, we're just in the beginning.

A movie is really provocation. It's not a message, it's not a statement.

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

As artists, we like night more than day sometimes.

Emotions serve characters' purposes. That is their motivation.

Every movie is unknown.

Fighting for identity is something that is very much in my life.

For a filmmaker, it's a rare chance to do a personal film on a big canvas.

For six years, from 1985 to 1991, I felt pretty weak and useless.

I am not particularly religious. But I think we do face the question of where God is, why we are created and where does life go, why we exist. That sort of thing. And it is very hard to talk about it these days, because it cannot be proven. It is hard to discuss it rationally.

I do like challenge.

I don't care about writing really.

I don't have a superpower.

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

I don't lead a Hollywood lifestyle.

I don't like to deal with studios.

I don't think the Hulk is a superhero. He's the first Marvel character who is a tragic monster. Really an anti-hero.

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

I feel that everyone has a Hulk inside, and each of our Hulks is both scary and, potentially, pleasurable. That's the scariest thing about them.

I find it hard to deliver straightforward things.

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

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.

I guess in Hollywood you chart your life by Oscars. You say to each other, 'Remember when that movie won that year? It was 2006. Remember that?'