A Quote by Li Bingbing
My first time playing a main character was in 'Seventeen Years.' It was directed by famous Sixth Generation director Zhang Yuan, but it wasn't a large commercial film.
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The chasm between independent film and commercial film is now so wide. You either have to be super-famous and get a first-time director or writer's indie script off the ground, or you're a newcomer and go and put a cape on for four years.
We made 'Mickey and the Bear' with barely any money with a first-time director, a first-time director of photography, and a crew who had just graduated from NYU film school. We were all very much in this together for the first time. There's no famous actor or big explosions. It's not a Marvel movie. I thought nobody was going to see this film.
Me and Kirby are very collaborative and it changes from film to film. The first project we worked on together, Derrida, we co-directed. The last film Outrage, I was the producer and he was the director. This film was much more of a collaboration - he is the director and I am the producer - but this is a film by both of us.
The first and foremost criterion for me when selecting a film is the character I am playing, and then the director.
"Fish Tank" [my favorite woman-directed film] by Andrea Arnold. The film is so beautifully shot, and I love the raw energy of Katie Jarvis, who plays the main character, Mia. She is not a professional actress and she provides the film with a sense of realism. To me, the film feels so complete and superior.
It does not feel any different being directed by a first-timer as long as I am convinced that the director is passionate about the film he or she is making. If you get a sense of their vision for the film and their aesthetics of your performance, then it does not matter whether you work with a new or an experienced director.
My favorite film is "Meshes in the Afternoon," a short avant garde film directed by Maya Deren. This was the first film that I saw that was actually directed by a woman.
I was shooting a mini-series for Sundance/BBC, called 'Top of the Lake,' that was shot by Jane Campion, who's a beautiful native New Zealander and famous film director. The role I was playing was very intense, and they shaved half my hair off. So, I looked like this post-apocalyptic character.
I have worked with a lot of really great women directors: Ana Kokkinos; Cate Shortland, who just recently directed a film called 'Lore;' another director, Rachel Perkins - she's an Aboriginal director, and I've worked with her three times now, and she gave me my first film role, actually, back in 1997.
If you look at the first generation of wireless, it really lasted about 15 years before we went to the second generation. When we implemented the fourth generation, which allowed us to do all the smartphones and the videos, the time between that and going to the fifth generation is going to be four years.
I was a big fan of 'Blackadder,' and my first commercial was directed by John Lloyd - I could have bored him for hours if I'd known he directed my favourite show!
The first time I can remember thinking that I would like to be a writer came in sixth grade, when our teacher Mrs. Crandall gave us an extended period of time to write a long story. I loved doing it. I started working seriously at becoming a writer when I was seventeen.
If you ever ask me what my all-time dream character is, my answer will be Mia Tansen, the great composer-musician in Hindustani classical music. And ideally, the film should be directed by a person like Bhansali who is a great director and has a marvellous sense of classical music.
Seventeen years is a long time to be playing this game. It's two careers for a lot of people.
I don't see myself as a short-film director, and I'm not a commercial director.
The writer must be a participant in the scene... like a film director who writes his own scripts, does his own camera work, and somehow manages to film himself in action, as the protagonist or at least the main character.
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