Screenwriters From China

"“What happened to her books?” “They went up in smoke. Confiscated by the Red Guards, who promptly burnt them in public, right in front of her apartment building.”"

"She said she had learnt one thing from Balzac: that a woman’s beauty is a treasure beyond price."

"Every nook and cranny of the land came under the all-seeing eye of the dictatorship of the proletariat, which had cast its gigantic, fine-meshed net over the whole of China."

"I was carried away, swept along by the mighty stream of words pouring from the hundreds of pages. To me it was the ultimate book: once you had read it, neither your own life nor the world you lived in would ever look the same."

"I kept my door more securely locked than ever and passed the time with foreign novels. Since Balzac was Luo’s favourite I put him to one side, and with the ardour and earnestness of my eighteen years I fell in love with one author after another: Flaubert, Gogol, Melville, and even Romain Rolland."

"Inside, piles of books shown in the light of our torch: a company of great Western writers welcomed us with open arms. On top was our old friend Balzac, with five or six novels, then came Victor Hugo, Stendhal, Dumas, Flaubert, Baudelaire, Romain Rolland, Rousseau, Tolstoy, Gogol, Dostoyevsky, and some English writers, too: Dickens, Kipling, Emily Brontë… We were beside ourselves. My head reeled, as if I’d had too much to drink. I took the novels out of the suitcase one by one, opened them, studied the portraits of the authors, and pass them on to Luo. Brushing them with the tips of my fingers made me feel as if my pale hands were in touch with human lives. “It reminds me of a scene in a film,” said Luo. “You know, when a stolen suitcase turns out to be stuffed with money…” “So, are you weeping tears of joy?” I said. “No. All I feel is loathing.” “Me too. Loathing for everyone who kept these books from us.”"

"It would evidently take more than a political regime, more than dire poverty to stop a woman from wanting to be well dressed: it was a desire as old as the world, as old as the desire for children."

"I hadn’t suspected that a tiny glimmer of hope for the future could transform someone so utterly."

"Picture, if you will, a boy of nineteen, still slumbering in the limbo of adolescence, having heard nothing but revolutionary blather about patriotism, Communism, ideology and propaganda all his life, falling headlong into a story of awakening desire, passion, impulsive action, love, of all the subjects that had, until then, been hidden from me."

"Four-Eyes’s parents probably wanted their son to be a writer. They must have thought it would be good for him to read books, even if he had to do so in secret."

"We had been so unlucky. By the time we had finally learnt to read properly, there had been nothing left for us to read."

"I consider myself as having two selves. One self is Chinese and more delicate, more subtle, in terms of language. But the English self is young and audacious, and I say what I want to say."

"With books or film I want to commemorate our youth and the sacrifices they made. No matter how bitter the time was, there is always something beautiful. I want to satisfy my nostalgia and hope [my work] is touching enough to move audiences who may not have the same experiences."

"From early on, I was nourished in a literary way. I didn't realize that there was a writer already living in me"

"I like to play with words. In English, there's only one or two ways to say something; in Chinese there are 30 ways."

"Any suffering registered in your mind makes the emotion deeper. Maybe as a writer, I am constantly looking for tragedy."

"It’s always challenging to portray foreign characters in a novel that is told mainly from a Chinese perspective or, you may say, in a Chinese story."

"I believe all free thinkers, all artists and writers, should be independent from the mainstream so they won’t take the value system or moral standards of the mainstream for granted. They should take it as their duty to question and doubt the way of life and way of thinking of the majority. I am glad to live overseas as a Chinese writer, to remain independent and critical of both sides."

"What makes me choose to write a particular story as fiction only depends on how interesting the story is and how much literary and aesthetic value I can see in it. In China, I don’t believe there are enough good literature and artistic works of aesthetic value that have been created on this war. So far, most are just crass propaganda. Literature doesn’t stop war, but it helps us understand what war can do to human hearts, and what worst or best behaviors war can trigger from us."

"Under normal circumstances, I will not travel until a novel is finished.If there is an agreed itinerary, I will calculate the time at home, enough to write a lot of work. If I am writing a novel and encounter an urgent matter of traveling, I will be very upset and even painful. If more than half of the work has been written, and the tone of voice of this work has been formed, then I will feel better, otherwise, when I come back from a trip and sit at the desk, I want to give up because the tone is out of tone and the sense of language is weak."

"Of course, the vision of many works, such as the sense of picture and imagery, is actually unconscious by the writer. If the writer is conscious, he will write very artificial things."

"Death is not completely tragic, perhaps it will be the completion of a redemption, or the beginning of a rebirth."

"My dream is to write with both pens, in English and Chinese. I want to be more truthful and more straightforward when I write in English."

"It’s frustrating seeing things lost in translation. Some expressions are just so Chinese, or so English, you have to switch your thinking to English in order to write it with spontaneity and naturally."

"The pity is my expression in English is still young and not subtle enough. It’s not quite there. I read English very well, I know what good language is, and I want to reach the level of Nabokov and Conrad."

"But it’s frustrating, that you know what good literature is but you cannot get it totally right."

"I don’t think a novel has a function or a mission such as teaching somebody something. Instead, I think a novelist, by writing a story in the most vivid way, with poetry of language and by sharing it with the public, is willing to discover the truth about the story together with the readers. I have written stories about women suffering during wars and after wars, because I think that no matter who wins or loses, women on both side are the ultimate victims. Their bodies are the last part of a defeated country to be conquered, to be violated. They are the mothers, wives, and daughters of soldiers whose lost lives leave voids in the women’s lives, too deep to be filled."

"I think the Chinese are a people of survival. We are all wonderful survivors. We have risen in population during the last century, a century in which wars and famines have happened all the time. We have survived natural and political disasters almost every other year during the last sixty years. Without optimism I don’t think my people could live until today. I have gone to poor rural areas in China and seen destitute people joke and jest and laugh. I can imagine Chinese at the bottom of society, surviving like them over thousands of years. They must have a good sense of humor to go through hardship, and they must have learned how to steal whatever small pleasure they can to hold on to their dear life. I can’t imagine that any people could survive so many centuries of sorrow if to live only means to suffer. They have learned to steal joy, however little, out of the overall suffering."

"Don’t you think all women need to be admired, and welcome it? Admiration comes out of sensitivity and attention. Admiration includes paying attention to every detail of her body, decoding her body language, being sensitive to her subtlest gestures, being aware of all the expressions behind her expression. Women always feel that the people closest to them don’t understand, don’t comprehend them; that they lack the sensitivity that comes from true passion. Without this sensitivity and understanding, women lack a sense of security and don’t have the impulse to open their hearts completely."

"I realized that on the internet, you can hide in invisibility, so speaking with another person is kind of like speaking to another part of yourself, or like confessing to a priest of your own creation. So it becomes very daring, very frank, with a desire to give the burdens you carry in your heart to the other person, to have that other person share the burden. Secrets are very heavy, and someone who keeps a huge secret cannot live carefree. Over time, the corrosiveness of secrets can erode the most intimate relationships."

"As I mentioned previously, on the internet everyone enjoys being nameless, having the privilege and protection of anonymity. It is like a person hiding in a crowd; if the crowd curses, he curses along with it, and only by cursing along with it does he feel safe. But if he doesn’t curse along with it, he loses the crowd’s protection and is not safe. On the internet many people tell the truth, or attack others, or curse others, anonymously, thinking that if they can disappear into the vast ocean of the anonymous crowd they can feel safe."

"I don’t consider myself a successful screenwriter. I write screenplays because I have no choice. Often I’m simply the director’s last resort. I think that good novel-writing emphasizes characterization. It’s the personality that makes a good movie or novel character unforgettable."

"I think Chinese is a difficult language to translate. Every time a draft translation of my work lands on my desk, I read it as if it were someone else’s work. I think I have the ability to stay detached and read my own work objectively, because when I read a translation draft, I rarely compare a sentence or a paragraph with my original work. The only time I do is when I discover a passage that doesn’t sound right. I don’t nitpick. It’s unfortunate that Chinese is a such a unique language, with origins so different from Western languages, so every time I read a translation, I feel something is lost, some of the strength or color."

"But these days in China the authorities don’t grant my novels official book licensing numbers, so there’s no way to publish them in China. For that reason, I’m considering writing in English again. I swim every day, and when I swim, I feel that swimming laps back and forth is rather boring, so I think about a novel’s structure, its beginning, its characters and such, and that way I enjoy swimming more. After I have swum for a few more months, maybe I can talk more concretely about my next project."

"I was disillusioned with the communists after they shot the students at the square. But now I'm disgusted with this country [US], as well. I thought the US was such a free land. I don't know where else I should go to now. I was just naturalised."

"I don't see myself in the circle of Asian-American writers. My English is only that of a 15-year-old. I don't feel confident enough to write about contemporary America. China has been the subject of my writings, no matter where I am. However, I'm not completely Chinese - more an outsider of China's affairs. I have the right to speak on the subjects that I lived through"

"There are still many problems that aren't answered in China. As a writer, I have to keep searching for truth. The Chinese government still neglects many mistakes that were made during the Cultural Revolution and covering the facts. We need to revisit the old wounds."

"Good stories will keep haunting me for years. They will mature and want to be born. I can't help it."

"The one thing that I learned really early on is that you’ve got to surround yourself with the right people. Because you can’t change how people think — you can’t control how they’re going to think, how they’re going to behave. But what you can do is make sure the people that are around you not only protect you but want to be with you because of who you are as an individual. I’ve been lucky in my whole career so far. Every single film we’ve made, I’m surrounded by people like that."

"I've been thinking a lot lately of how I keep going when things get hard. I think it goes back to something I learned when I was a kid. When I was growing up in China, my Dad and I used to play this game. We would memorise classic Chinese poems and texts, and we would recite them together and try to finish each other's sentences."

"There's one that I remember so dearly, it's called the Three Character Classics. The first phrase goes... 'People at birth are inherently good.' Those six letters had such a great impact on me when I was a kid, and I still truly believe them today."

"Even though sometimes it might seem like the opposite is true, I have always found goodness in the people I met, everywhere I went in the world. So this is for anyone who had the faith, and the courage to hold on to the goodness in themselves, and to hold on to the goodness in each other, no matter how difficult is to do that. And this is for you. You inspire me to keep going."

"You could watch her script adapt to the personalities and stories that came from those conversations. You could see her listening to these individuals telling their stories, and then collaborating with them to fold their own narratives into the script. Chloé really allows people to choose how they want to represent themselves. The safety of fiction filmmaking, in my opinion, actually pulls out a level of honesty and authenticity that I think would be impossible if this was a documentary purporting to truth."

"Sometimes people feel like they are not important enough to be in a movie. Once they meet Chloé, they open up. She makes people feel special. Chloé truly wants to hear their story and she wants them to tell it."

"This year, a female ethnic Chinese director got the awards, but even keywords related to her cannot be seen on social media. This is extremely lame."

"People at birth, are inherently good. Their natures are similar, it’s the sensitive characters in their names that make them different. Congratulations to director Chloé Zhao!"

"Instead of celebrating Chloé Zhao's wins at the Oscar and making the Chinese public feeling proud, Beijing is busy censoring her -- all for a criticism she made in 2013. For as long as I've been writing about Chinese censorship and propaganda, I still can't wrap my mind around it."

"Films directed by Chloé Zhao"

"I have gone through ups and downs in my relatively short career. And one thing I’ve learned is a bit of a cliché, but everything does happen for a reason."

"I love movies that don’t necessarily tell me how I should feel or how I should think but give me this canvas that I can go away and have a conversation with myself and people around me."