A Quote by Tony Leung Chiu Wai

The most difficult thing is that I don't speak Mandarin and I had this experience - of working in a language that I don't understand - before and it's really horrible. Eighteen years ago, I played a mute in one film because I couldn't speak Mandarin. There was another film where I had to speak Vietnamese. It's horrible!
Somehow you get past languages. I don't speak Mandarin. I don't speak fluent Italian. I don't speak German. But it's amazing how when you need to get something done, it finds a way.
I went back to China and did a movie in Mandarin, and I don't speak Mandarin, so I learned it phonetically. Now, when I'm on set and somebody gives me English lines, I'm like, "Are you kidding? What's happening? This is amazing!"
When I was at Yale, I was one of the students chosen to go to China. I lived there for 1-1/2 years and I can speak Mandarin fluently.
The next movie will be in Mandarin. I enjoyed shooting all the Japanese stuff in Kill Bill so much that this whole film will be entirely in Mandarin.
I don't speak Spanish, and I get so much crap for it. Oddly enough, it was the first language I learned, but somehow I lost it throughout the years. I can understand pieces of it, but I don't speak it. I need to speak it. I want to teach my kids Spanish.
The main issue when it comes to hiring someone from Asia is the language barrier. It's difficult to book someone when they don't speak the language and they can't deliver the lines or even speak to the director. But in terms of Asian-American actresses, we all speak it fluently!
I can speak passable Mandarin. I will not be translating at the U.N. anytime soon.
It is a very important film, Life And Nothing More, in that what was filmed was inspired by a journey I had made just three days after an earthquake. And I speak not only of the film itself but also of the experience of being in that place, where only three days before 50,000 people had died.
I had a horrible heart attack and still have symptoms of that sometimes. Then cancer, which is in remission. But the stroke is the hardest thing because I just lost my ability to speak and to write.
I do speak Mandarin, and I also relate to the hunger that China has for culture and architecture and style.
Was it all put into words, or did both understand that they had the same thing at heart and in their minds, so that there was no need to speak of it aloud, and better not to speak of it?
Working with composers often is a really frustrating experience because you speak a different language and, oftentimes, they take two or three jobs, at the same time. They're difficult and pretentious and they're tormented artists.
Catalan language is one of the most complete and perfect expressions that I know from the point of view regarding language, I not only read it since many years ago, but I understand it. Moreover, I speak it intimately too.
I speak English, obviously, Afrikaans, which is a derivative of Dutch that we have in South Africa. And then I speak African languages. So I speak Zulu. I speak Xhosa. I speak Tswana. And I speak Tsonga. And like - so those are my languages of the core. And then I don't claim German, but I can have a conversation in it. So I'm trying to make that officially my seventh language. And then, hopefully, I can learn Spanish.
Richie' is so special to me. It's because this was the first Tamil film that I had auditioned for. I did not know the language well. I was an absolute newcomer. But I had the determination to speak in Tamil, as it was a very good role and I didn't want to let it go.
In the case of my second film The Fish Child (El Niño Pez), I had written the novel about 5 years before I made into a film. In the case of The German Doctor I had published the novel a year before I started writing the script, I even had another project to shoot. But I had this idea of the powerful cinematic language from the novel that I couldn't let go of.
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