film-directors-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.”"

"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."

"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."

"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.”"

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

"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."

"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 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."

"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."

"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."

"I think my experience represents a wealth of assets for my life and my work. During the ten years of the Cultural Revolution, I was 16 to 26 years old. I experienced a lot of chaotic situations, and saw a lot of tragic things around me. So that deep understating of human life, of human society really benefits me today - in the way it affects my work, my thinking or even how I deal with my problems. You know, when I'm looking at different types of movies, I tend to think more about human life, about the human spirit, about the human heart. That's from my past experience that's still very deeply rooted in me."

"I have seen a lot of films, but no Western filmmaker has ever had a great impact or influence on me. We always feel there is a great gap between Chinese films and Western films. Western films are far more advanced, but we don’t feel any shock about this gap. It seems natural."

"If a nation wants to develop toward the future, if it wants to be powerful and prosperous or influential, it simply has to have a vitality and burning passion toward life. No matter how much you suffer and no matter how tragic your fate, you need courage to live. This courage can't be worn away; otherwise, humanity would have no way of moving forward or developing toward the future. I think that several thousand years of humanity have also relied upon this kind of courage-an unceasing desire and vitality toward controlling one's own destiny. Every person hopes that his or her life will get better and better; this idea underlies everything. This is a critique of the modern mentality of Chinese people. Even though a country may be poor-its people poverty-stricken with all kinds of problems and much suffering-if people want to live, they should live to their hearts content, and they should have spiritual passion."

"As I said, a work should be unique in idea. I think many Hollywood movies reflect a simple world outlook. Instead of putting emphasis on the breakthrough of the content, the symbolic aspect, they stress other entertainment elements to attract an audience, such as sensational approach and a high technological skill. They carry a high price tag, and sometimes are very well done, with love scenes and action. But in terms of artistic value, the symbolic meaning of the movies, some of them, not all, are kept plain. They may just draw lines of moral value, such as struggles between good and evil, something we are educated about once and for all in high school. I think movies should have more than just these, they should touch more varieties of the society, different aspects of life, and reflect people. They are more for development, more to explore. Of course this is only my personal view, each person may have their own view."

"Chinese moviegoers appreciate a good balance, so we should try to achieve a perfect combination of content and visual impact; those would be the best works. Having said that, visual movies can have an extraordinarily strong impact, so I believe that visuals deserve a lot of attention as well."

"Fiction film is really different from documentary in this aspect. It is less objective, because the director expresses a subjective point of view with the movie. I would like the movie to look like a documentary, look real."

"We need to strike a balance between the visuals and the story itself. And for me, I believe the story is the most important thing. And then secondly it's the artistic style. Because if we don't have a great story, it's all about the visual and the appearance and then it'll be too superficial and too shallow."

"It's hard to tell where inspiration comes from. Very often, it comes when you least expect it. Perhaps you get a tiny detail or specific image in your mind and you find that image beautiful. Or sometimes, inspiration comes from another person, something that another person says or does moves you. You find yourself touched and the feelings give you an idea you can use and develop. And sometimes the ideas come from watching other people's works or movies because I really love to go to movies myself."

"I think being popular is a tool instead of a purpose. One has to use a tool to express what he wants to express. Movies from the West, sometimes, are using this as a purpose, for a high market value. Their movies are made to be trendy, so that they could attract a great number of people. And in turn, they will make money that way. This is a universal feature in the industry. But for me I do not feel that it is enough if you just want to make something so that it will be popular. I have to express what I want to say. I probably would refuse to make such a film. To cast a movie, I have to find myself, to express what I want to say. Being popular, for me, is a process to make more and more people accept your ideas. For the movies I make, I try my best to make them popular, to make the audience accept it naturally. This is important. But I do not mean the other extreme, to only express what you want to say and neglect the public. This could end up as something just cherished by the artist. I think we are part of the mass, not higher than other people. I do not think possessing the quality of being popular is something lose face over. It is a style. It would work for the movies if and only if I am able to express what I want to say, and use popularity as a tool."

"I believe a great film has to be, first of all, artistic. It has to be beautifully done. Nowadays there are just so many films and TV shows out there that it's like fast food. And there's no strong artistic element to it. And secondly, a great film has to be deep. It has to be impactful. And tell an amazing story."

"Good films have had influence on us. To say that they haven't is to talk nonsense. No one lives in a vacuum. I believe that the world's great masters, geniuses, and super-genius have always been the products of their times, that they've been influenced by the overall creative atmosphere of their times. Regardless of whether they want to be like other people or not, they've all been influenced."

"Using “realistic style” does not mean that we have to change and make a documentary film. It remains fiction. When I make movies, it is subjective, my own interpretation of the novel, my way of organizing the movie scenes. The director’s reflection is not objective, because we are expressing our own point of view, and from the angle of what interests us."

"The problem is that Hollywood is competition for Chinese art films. So I thought I should make a film with box office promise, that refers to Chinese culture, but also contains an art element."

"I would say I tend to adopt a more affirmative approach to women because many of my works are dealing with the theme of anti-feudalism. So I have used a lot of historical themes in my works, you know the Chinese culture and the Chinese tradition. The man and the father are dominant in both society and family, and a lot of pressure is put on the female, and I wanted to reflect that."

"I have always hoped that Asian movies can enjoy better development and can enjoy a better position in relation to the rest of the world. I'm sure this is the hope and goal of all movie directors in Asia."

"Each person has his or her own point of view. However, if a jury likes a movie, this does not always mean that it is a good movie. It only reflects the view of the jury members. On the other hand, China is a developing country. The juries probably are curious about something they have never seen, something authentic, something that is hard to find in their society. The different living condition of each country defines how we see them and how they see us."

"It is true that I was a cinematographer, so for me, the narration of the spectacular is powerful and important. I always pay special attention to the expression of the pictures. It has always been my style."

"Even an adaptation of a good literary work must first become a film; it can't be a copy of literature. An adaptation doesn't have to be like the original work, and it should be filmic. The first thing I do is simplify its events-simplify and popularize them. Film goes by only once, and its form of viewing is compelling. There's no time to go back, or turn back and reflect. You have no choice but to go along with the screen. Sometimes in literary language one or two sentences are very refined and charming. You can repeatedly try to figure them out, and once you've reached the last chapter, you could even rummage back to reflect on earlier points in the book. A film goes by only once, and not many ordinary people will see it two or three times. The rest of the viewing space is black and silent-the only thing with light and sound is the screen. The audience has no choice but to move along with the film's time, and because of this, films shouldn't be too complicated."

"During filming, it never occurred to me that I was going to be a part of either film. I was always trying to cut my voice out by having subjects include my question in their answers."

"The most repressed countries often produce some of the most amazing films. I think that it will push people to find a way to express their ideas in new ways."

"We all like to believe that our world has clear heroes and villains and that the heroes are going to save us after all, but that’s not the reality."

"Memory is the central part of the individual identity… and I think that’s true with a nation, too. What a nation is how the nation remembers its past, and with the authoritarian government in China, so far recent history has been written in the authorities’ narrative; how they came into power, and what has happened since they came into power, have been revised in a way that fits into the official narrative."

"I’m conscious what things were not positive. And I, as a storyteller, as a filmmaker, and as a citizen, I felt that it’s my responsibility to expose that and to reveal that, to raise awareness so people could see. That’s the only way I feel you could really push the country to move forward, to improve, and hold the authorities accountable."

"We all want certain things. We all want transparency. We all want accurate information. And especially with the experience of coming from China, knowing how somebody could firmly believe in something that was not true. I would never look at any of the subjects in China who say they love, they admire, they appreciate Xi Jinping and they appreciate what the Chinese government does with contempt or with disgust. I would never do that. Because I know what they came from, and I know what made this happen."

"Our goal was to make a film that in 50 or 100 years will survive as a reliable account of what really happened during the one-child policy. It can serve as a rebuttal to the official narrative, which in China already is pure propaganda. Even outside of China, many people we’ve spoken with have told us how surprised they were by the details of the film, which shows how effective the propaganda promoting the policy truly has been."

"People in China who praise the government despite that they have family that died from Covid because of the lack of medical response and lack of care from the government, but they still say they are appreciative of the government, I look at those people and they could be my family or my friends. I would never look at them with disgust or contempt or as morally superior. I understand how they became that and how they got their information, how their ideology was formed."

"I think empathy is not learned. Maybe I’m wrong, but in my experience it’s not."

"I think the first step of any change comes from the people who live in China. And that's why I think the most important impact I hope that documentaries would have is to change people's perception. Because personally, I experienced how I have learned so much, and unlearned so much, about what I was taught growing up about China."

"There is a difference between disinformation and misinformation. Disinformation is somebody giving the wrong information but unknowingly. They did not know it was wrong, so maybe they could say they are working with the information they had at the time but it’s still wrong. Misinformation is intentionally spreading wrong information. At what point the disinformation turned to misinformation is really hard to go back and find. The people who are at the level of government, whose responsibility it is to present transparency and truthful information, those people need to be held accountable for giving inaccurate information."

"Misinformation is just like a virus. There is an origin. It’s hard to find where the origin is, but it starts with a small group of people and it takes human hosts to spread from person to person. All the people who voted for Trump or believed that COVID didn’t exist, you need to go back to see where did it start and how long have we ignored that. I do want people to look at it, and not to place judgement but to look beyond those superficial issues."

"I’m pretty pessimistic about the Chinese government because I think there is no balance within it or any institution, country or organization that can hold it accountable. So, I don’t know what the future will be."

"The biggest challenge we faced during post-production was how to integrate all the different elements involved in the film. The topic of the one-child policy and its consequences are massive and complex. We went through a lot of trial and error to decide which characters to include and how to transit from my personal and family story to a larger national and international story."

"It seems that several countries are paying more and more attention to women filmmakers, because in the past all the directors in those countries were men, and women have encountered many problems in trying to become directors. But in China, I feel that problem has never existed. In this respect, men and women have always had equal opportunities. In other countries, women feel a need to emphasize what they've been through, but in China things are different. I feel that what many of the films made in China in the past lacked was individuality and character. They were all rather cliched and publicized policies for the authorities. You can't see the character of the artist, male or female. So, in making films, my primary motivation is to express myself, and in expressing myself, it's very natural that my being a woman should be part of that. (discussing western scholarship of gender as not being useful in distinguishing Chinese films, and highlighting differences between the Chinese and Western film industries)"

"I have lived on my own since 1963. It doesn’t mean I haven’t had a sex life."

"I’m tough but my heart is very soft."

"See, a lot of people think freedom means you can do anything you want. That’s not true. The more freedom you have, the more responsibility you have. My life has always been about freedom and independence. And in some ways, acting has too. What is so great about acting is that after 62 years, suddenly the technique is in you already. You don’t have to think about it anymore. Suddenly you’re free."

"I don’t like to be called “Mrs.” because I am not married, and I only belong to myself. I admire and respect people who have been successfully married for a long time, but I cannot do it. So I decided to never marry again."

"You can control the audience. You can make the audience so happy one minute, and so sad the next minute. In film, it’s up to the directors to cut it well. Sometimes an actor may not give a very good performance, but the editor does a good job."

"I always tell my students that I’m teaching them to be more confident. That’s why you come to acting class. I say, “If you aim at a tall tree, you may hit a bush. If you aim at a bush, you’ll hit that floor.” I find that some actors just don’t try enough. They may not like it when I say that."