A Quote by Lena Dunham
I spent all my time on my movies worried that people were eating and that the schedule was being kept, so to have experts in those areas giving me the brain space as a writer and director is huge.
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In acting, you have a writer, a director, a character - you're working through being another person - and the irony I always tell people is when I acted early on as a teenager, it actually kept me out of trouble.
Looking back, the most challenging thing for me was actually directing. It's very tough. Being in front of the camera is easy since the director can tell me what to do. But being the director and giving people directions is the toughest thing for me.
Originally, I was an assistant director. For many people in that role, becoming a director is the ultimate goal. But, in my case, that wasn't my goal at all. I just had fun doing it. The schedule was hard, but I enjoyed it greatly so I just kept at it.
But in the former, those movie sets that you've been on like that, even if they're huge movies and most of its being spent in special effects afterwards, I think that's the way that we're going.
When I finished 'P.S. I Still Love You,' I truly was done with the series. I kept saying the books were two halves of a heart. But I suppose time and space had made me nostalgic, because my mind kept drifting back to Lara Jean and Peter, wondering what they were up to.
I felt a funeral in my brain, and mourners to and fro kept treading, treading till I felt that sense was breaking through. And when they all were seated, a service, like a drum, kept beating, beating, till I felt my mind was going numb. And then I heard them lift a box and creak across my soul with those same boots of lead again, then space began to toll, as if the heavens were a bell and being were an ear, and I, and silence, some strange race wrecked, solitary, here. Just then, a plank in reason broke, and I fell down and down and hit a world at every plunge, and finished knowing then.
People always talk about what they do the night before, but to be totally honest what you do the night before isn't going to make a huge difference in how you look. Maybe eating a giant burger and being bloated would make a difference, but other than that it's the lead-up. For me it's always about trying to consistently maintain a fit and body-conscious eating schedule so three days before I'm not like, Oh my God, I have a bathing suit shoot I have to do.
Danny Boyle has been a huge, has had a huge effect on me. His movies, early movies like Trainspotting and those movies. So I've always loved the energies of those movies. But also, that they are very focused on the characters. Cause it's not only gimmickery, it's not only about visuals. You feel a real need, a love for the main characters. So that's what I've always loved about watching movies myself.
I thought I was depressed because I wasn't a writer/director. I moved into a space where I'm a writer/director, my movie is a hit at Sundance, I have a wonderful, loving boyfriend, and wow, I have financial stability. Why can't I get out of bed still?
As a writer and a director, I simply don't have the time I need to write and prep the movie I would have wanted to make because of the fixed and tight production schedule.
I'm very old-school. I like a director to direct me. I like to be the actor. I'm not particularly fond of the hybrid writer-director, or actor-director. Writers, directors, actors are all such very different people. I think it's unusual that two of those people are in one human.
I was definitely incredibly close to my dad, in a way that was all-encompassing. I am close to my mum, too, but there were areas that she and I did not share. So his loss to me was huge, personally and professionally. He believed in me, not just as a father, but as a director, and that always meant a lot.
I think my family's watched me over the years in my career, in my pursuit of my career, and they've seen the challenges and the struggles that come with being an actor, with being a writer and a director, and the challenges of morphing my career in from just being an actor into a writer/director.
In Hong Kong, in our generation that started out in the 1970s, being a director wasn't a big deal. We didn't even have director's chairs. We weren't particularly well paid. The social standing of a film director wasn't that high. It was a sort of a plebeian job, a second or third grade one. And the studio heads are always practical, there's never any fawning because someone is a director. There's very little snobbery about one's position as a director. The only ones people treated differently were those that were also stars; or the directors who also owned their companies.
I've always been a huge fan of Patricia's [Rozema ], as a director and as a writer, and she's a friend. For me, Patricia is one of those people who can cross genre in a way that I think has been pretty incredible, if you look at her career and the versatility of her work.
I think that for the actors, the last thing that they want is a director that's not watching, a director that goes 'Okay, it sounded good to me,' and they were doing something else or preoccupied with something else because they were worried about the light changing.
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