My films are never about what Hong Kong is like, or anything approaching a realistic portrait, but what I think about Hong Kong and what I want it to be.
In most kung fu films, they want to create a hero who's always fighting a bad guy. In the story of Ip Man, he's not fighting physical opponents. He's fighting the ups and downs of his life.
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The Chinese government promised Hong Kong '50 years, and change.' And 50 years later, after 1997, will be 2046; I think, 'Well, that's a very interesting promise.' So I want to make a film about promise.
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To me, romantic means, um, you follow your heart more than your mind. Sometimes when you're shooting a film, you have to follow your heart.
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During shooting, you have the idea, like, of this certain dress on this actress, but it's not to fit, so you have to make all of these alterations and modifications. So in a way, I build the characters with the cast, and it's sort of custom-made, the whole process, and then you have to make all of these adjustments.
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Americans always see China through the looking glass, and I think it's about time - with technology and of the growing economic relationship between these two countries - I think it's natural and better for all of us to have a better understanding of each other.
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'Ashes of Time' was my third film, and as a young director at that point, it's not very often that you have the chance to make a big martial arts film, so of course I jumped at this opportunity.
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One's memories aren't what actually happened - they're very subjective. You can always make it much better, right?
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For 'Chungking Express,' the way we shot the film was all handheld and with all this existing light, and that became very popular. Everybody thought it was cool.
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The industry and support in China has really matured because there are so many productions there. At the same time, there's been a lot of changes in the market, which I think also has enabled productions like 'The Grandmaster' to happen and to be possible to shoot in China.
My films are never about what Hong Kong is like, or anything approaching a realistic portrait, but what I think about Hong Kong and what I want it to be.
My films are never about what Hong Kong is like, or anything approaching a realistic portrait, but what I think about Hong Kong and what I want it to be.
My films are never about what Hong Kong is like, or anything approaching a realistic portrait, but what I think about Hong Kong and what I want it to be.
My films are never about what Hong Kong is like, or anything approaching a realistic portrait, but what I think about Hong Kong and what I want it to be.
My films are never about what Hong Kong is like, or anything approaching a realistic portrait, but what I think about Hong Kong and what I want it to be.
My films are never about what Hong Kong is like, or anything approaching a realistic portrait, but what I think about Hong Kong and what I want it to be.
My films are never about what Hong Kong is like, or anything approaching a realistic portrait, but what I think about Hong Kong and what I want it to be.
My films are never about what Hong Kong is like, or anything approaching a realistic portrait, but what I think about Hong Kong and what I want it to be.
My films are never about what Hong Kong is like, or anything approaching a realistic portrait, but what I think about Hong Kong and what I want it to be.
My films are never about what Hong Kong is like, or anything approaching a realistic portrait, but what I think about Hong Kong and what I want it to be.
My films are never about what Hong Kong is like, or anything approaching a realistic portrait, but what I think about Hong Kong and what I want it to be.
My films are never about what Hong Kong is like, or anything approaching a realistic portrait, but what I think about Hong Kong and what I want it to be.
My films are never about what Hong Kong is like, or anything approaching a realistic portrait, but what I think about Hong Kong and what I want it to be.
My films are never about what Hong Kong is like, or anything approaching a realistic portrait, but what I think about Hong Kong and what I want it to be.
My films are never about what Hong Kong is like, or anything approaching a realistic portrait, but what I think about Hong Kong and what I want it to be.
