A Quote by Ted Sarandos

Our feature film, 'Crouching Tiger, Hidden Dragon Two,' has a built-in fan base from the original film. — © Ted Sarandos
Our feature film, 'Crouching Tiger, Hidden Dragon Two,' has a built-in fan base from the original film.
I saw the movie, 'Crouching Tiger, Hidden Dragon' and was surprised because I didn't see any tigers or dragons. And then I realized why: they're crouching and hidden.
'Crouching Tiger, Hidden Dragon' is not a direct-to-video, low-budget sequel: it's a big film. And it'd be fantastic to have the opportunity to see it on the IMAX screens at the same time, and IMAX has made arrangements with us for that to happen.
My mother is an immigrant from China, and she filled my head with stories about ghosts and fighting monks in China, so the world of 'Crouching Tiger, Hidden Dragon' was a very familiar one.
You can use martial arts to tell a different story. Ang Lee used martial arts in 'Crouching Tiger, Hidden Dragon' to talk about love.
I wish reporters were more in tune to the difference between the Asian experience and the Asian-American experience. I think often they lump the two together and think that when I talk about Asian-American narratives that they can cite 'Crouching Tiger, Hidden Dragon' or 'Mulan' as proof of concept when it's a different experience.
I think the original Matrix was really incredible. It was so original and it did so many innovative things with film. It was a much bigger film. Bound was just a smaller film. It was kind of like an old noir film
I think the original Matrix was really incredible. It was so original and it did so many innovative things with film. It was a much bigger film. Bound was just a smaller film. It was kind of like an old noir film.
There might never be another 'Crouching Tiger.' There might be something that's even better than 'Crouching Tiger.'
I think that too often we, film directors, think that a big epic novel and feature film are the same. It's a lie. A feature film is much closer to a short story actually.
When I was going for my graduate degree, I decided I was going to make a feature film as my thesis. That's what I was famous for-that I had my thesis film be a feature film, which was 'You're a Big Boy Now.'
Dragon's Lair 3D is about as close as you can come to controlling an animated feature film.
By the way, today with digital cameras and editing on your laptop, and things like that, you can make a feature film, a narrative feature film easily for $10,000.
All in all, I'd like to venture into film. Films are my staple diet, so I would love to be part of a feature film, independent film... it all just depends on the story and the people behind it, really.
I did New York, I Love You which is a very personal film for me. My most personal film, but it's not like a film I've ever made. I would never do that film as a feature, for instance, because it's not very commercial of an idea.
It's a simple thing he [Frank Daniel] taught me. If you want to make a feature film, you get ideas for 70 scenes. Put them on 3-by-5 cards. As soon as you have 70, you have a feature film.
I could never be a part of an adaptation of a film where there's pressure to not disappoint the immense fan base. In those cases, they often wind up with filmed books on tape, quite uncinematic. Having said that, I'd say all the adaptations I've done are quite faithful to the original... You have to pick and choose which storylines and plot threads, because you don't have the time to kill in the film as they have in novels. All those pages with detours and plots and different storylines. But films add a lot, and you gotta keep it moving.
This site uses cookies to ensure you get the best experience. More info...
Got it!