A Quote by Andy Lau
Wong Kar Wai is a very intense character, very personable, and I believe in general he does not like and he would not want his actors to show their true looks and their true personality on screen.
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Both Peter Chan and Wong Kar Wai are directors that I respect very much.
I always believe that Kar-Wai has a complete script: he just doesn't show it to us. He wants us to experience and explore the character. He gives you a lot of space, and you know every time will be a very long journey. You just live in the character, and that's very different from other directors.
I didn't see myself in Jia Jhangke or Wong Kar-Wai films. Those are Asian filmmakers, and I very much am an American filmmaker.
I'm a huge Wong Kar-Wai fan.
Wong Kar-wai and Ang Lee are two Asian directors I'm really fond of.
Wong Kar-Wai is a really great inspiration. He's always referred to as the Jimi Hendrix of filmmaking.
I like so many different directors: Scorsese, Coppola, Cassavetes, Jarmusch, Gus van Sant, Woody Allen and the greats like Fellini, Bergman, Tarkovsky and among current filmmakers von Trier, Ang Lee, Wong Kar-wai.
Some of my favorite all-time movies - Wong Kar-wai is just amazing. In the Mood for Love is probably my favorite film ever. Those lyrical montages are so stunning.
We're brought up to believe in a fairytale-romance sort of way that true love is out there and true loves don't care about what you look like and stuff, just what's down inside. And that's probably true, but what's also true, sadly, is that true loves are very rare and very hard to find.
The director Sofia Coppola's new comic melodrama, 'Lost in Translation,' thoroughly and touchingly connects the dots between three standards of yearning in movies: David Lean's 'Brief Encounter,' Richard Linklater's 'Before Sunrise' and Wong Kar-wai's 'In the Mood for Love.'
Where does a character come from? Because a character, at the end of the day, a character will be the combination of the writing of the character, the voicing of the character, the personality of the character, and what the character looks like.
If you are referring to the characters of The Room, each character has a different personality which you can see very clearly on the screen. If you are referring to the actors, they give me different emotions, personality which represents human behavior.
I found very interesting - trying to separate the different facets of Superman in that way. When you're aware of how people perceive you, you can't always remain true to yourself, and that was an interesting thing for me to apply to the character as well - exploring these different facets of his personality while having certain bits of it stripped away. The arrogance of a person who would have the kind of power that Superman does - we see that in The Return of Superman. Superman is not that character, but since he has all of those powers, he has that capacity for arrogance.
Those people that have hardened to rejection or hardened to life in general, it's pretty hard to feel them. You know, to look at their eyes on screen and feel them. I guess that's specifically talking about actors, but I think that's probably [true] in general. You want to keep your skin thin.
I did an action series back in '97, and did very intense training; weapons, knives, hand-to-hand combat. The more an actor trains in that way, the more we can do on screen and the better it looks. Nowadays, they want the actors to do as much as possible and stunt doubles are primarily used for the dangerous things that aren't covered by insurance.
I'm pulling out different aspects of my personality in writing each character and, if I'm doing my job well, I'm being true to the situation and true to the character.
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