Film Directors From China

"Another problem for minority actors is that we don’t often work with beautiful dialogue. And there were less chances of working with great directors and actors. That’s when you can learn a lot."

"I don’t know how to bargain. Most Chinese are good at it. I am not. I am too lazy. You need to have good arithmetic and I don’t. I hate gambling, which is almost a national sport. And I don’t think I would keep the money."

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

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

"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!"

"As someone once said: ‘Art is a never-ending dance of illusions’. It is impossible for us to dance exactly like we did before. What has really changed is not the films but the man on the floor."

"I like Latin American literature a lot and I’ve always thought Latin American, and Italian people are very close to Chinese, especially the women — jealousies, passion, family values, it’s very close."

"We all need stories. What happens in our daily lives changes our stories."

"Just make the film. Action is the first word you must learn. And the second is patience. As a filmmaker you must wait for many things. You have to wait for money, the weather, the cast, the release. So you need to have good patience. The process is so long and most of the time it’s frustrating. To be a filmmaker, you must first take action, then have the persistence to pursue it."

"It was my dream! I wanted to know what exactly martial arts is. When you look at martial arts films, the later ones became more and more exaggerated. It’s like, wow, is martial arts only a show?"

"You try to cope with the mass audience, but in fact you are not doing something for them—I would be fighting with myself. I thought, I don’t have to make big films, I can make small films that I can be happy with. I can find my own audience."

"Of course, people are more affected by actors or acting. But as a filmmaker, I need some logic. And this was my logic in making these two films, and how I connected these stories and these films together. People say my films don’t have any plot or storyline, but in my logic there is a storyline."

"We always put something in front of the camera because we wanted to create the feeling that the audience was one of the neighbors and was always observing or watching these two people. And the color is so vivid because everything from memory is vivid—it’s beautiful because it’s very close to your mind."

"Filmmaking is an organic process from start to finish, so there should be many surprises along the way. You never know what film you really have until it is delivered."

"When I was young, the idea of “world cinema” didn’t exist. We would watch any films that we could find in the cinemas. Today, some of those films have become accessible again on streaming platforms. In a way, it doesn’t matter as much where they exist as long as people have access to them."

"It takes less effort to stream a film at home these days. However, streaming should not fundamentally affect how a film is made, as long as the pleasure of watching films doesn’t change, and we as filmmakers continue to serve that purpose."

"I never want to make beautiful pictures. I just want to make sure it’s right. Every set up, every shot, represents a choice: what you want to see, and what you don’t want to see."

"In the last 10 years, a lot of kung-fu films have become over the top. And at a point, audiences start to think that kung-fu films are just a show, or a gimmick."

"My ideas about writing changed as soon as I started directing. As a writer, I wanted my scripts to be perfect and fully formed. As a director, I know there are always factors beyond my control. Many things in any film cannot be planned concretely in advance. The best you can do is visualise what you want, and then respond to what’s there once you go on set. Nowadays I start from a fairly loose script and tend to write the dialogue on the day of shooting."

"It goes back to when I was a teenager in China, being in a place where there are lies everywhere. You felt like you were never going to be able to get out. A lot of info I received when I was younger was not true, and I became very rebellious toward my family and my background. I went to England suddenly and relearned my history. Studying political science in a liberal arts college was a way for me to figure out what is real. Arm yourself with information, and then challenge that too."

"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."

"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."

"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."

"Someone I really respect and have been working with recently said to me, “You have to know that you have power. Know that you don’t have to fight so hard that you’re just on survival mode all the time. People around you are there to help you and they will be there when you fail. It’s okay to ask for help.”"

"I’ve been thinking about this a lot lately. I don’t think I can pinpoint why my upbringing or experiences have made me that way, but I have always been an outsider myself; it doesn’t matter where I went. I’m attracted to people who are on the periphery of society. I’ve been like this since high school. I liked mangas growing up and the ones I was drawn to were not about mainstream characters."

"Sometimes life drives you to a place… the road allows you to rediscover yourself."

"I don’t make films so that people can agree with me more. I make them to portray a character, a people or a way of life that people don’t know but that anyone can get to know. Then they can experience those things through their own conditioning and walk away with their own opinions and we can have a conversation about it. That’s the power of cinema. But if you stop me on the street to talk about politics, I’ll argue with you all day."

"But just by pointing the camera at something, you’re already making a statement of some kind. It’s inevitable, because you’re adding a perspective to it. I find that sometimes when I go into a community that’s not my own, or a community that has a lot of issues attached to it, I have to resist wanting to say something about how I think they could be better, or how I think the government has wronged them. A lot of times, they tell me what they think I want to hear because they’ve been interviewed many times by journalists. And usually, there’s something that these people who are interviewing them want them to say, because people go in with an agenda. I hear them saying things to me almost like they’re programmed to do it. You have to wait for that to be finished, and then you can ask, “What football team do you support?” or, “Tell me about your high school sweetheart.”"

"Making films is about communicating, and I am terrified that I will end up making films for people who already agree with me, which just keeps enforcing our own ideas. I’d rather have one person who disagrees with my politics watch my film, and then somehow see themselves in it without putting up a shield, than a whole room of people who already agree with me give me a standing ovation."

"I’m not the kind of filmmaker who just makes films. I have to be in love with my subject matter and want to learn more about it. Someone once said to me that passion doesn’t sustain, but curiosity does. I have to be excited by little things I discover along the way."

"But the truth is, you can never really be happy, because happiness is not an ultimate thing. Happiness is when your expectations are met with reality. If your expectation is constantly fed by the capitalist economy for its own survival, that you always need more, then you can never be as satisfied as the medieval farmer was satisfied with his piece of bread."

"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."

"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"

"So whatever decision you make, you're going to be able to find stories or signs to say 'I did the right thing,' because we have to believe we did the right thing in order to survive."

"The questions I want to ask will revolve around humans, connection, relationships, family, and stories - what are the stories we tell ourselves and each other?"

"I can't speak for everybody, and I don't want to say it for an entire culture, but for me, coming from an immigrant family, it's very difficult to go find your voice, which requires a lot of failure."

"There's so little representation of people who look like me behind the camera that it makes you want to say yes to any opportunity out of desperation. It puts you in a situation where you can't make your best work. Diversity for cheap."

"There have been moments where I laughed at my own family's culture, though it's hard to separate out whether something funny is cultural, or just my grandma specifically."

"We all have different aspects of ourselves, and who we are to different people in our lives, at different stages of our lives."

"Americans always talk about family love being unconditional, and I realized that I didn't feel that way."

"Sometimes America is so great because it brings all of us together, but sometimes it can be so limiting because it puts labels on things."

"In my family, and especially when I go back to China, it's always like, prepare your stomach, because it's the way that they express love."

"People are always asking me about the importance of representation and identity in relation to making The Farewell and of course those things are really important to me – thinking about my identity and exploring my identity in the west. But I would love it if men – white men – were also asked the same questions as me. They should be asked these questions so they can be more conscientious about how they’re representing people, how they’re not representing people, and aware of their own blind spots."

"It’s so much easier to tell a fish-out-of-water story when the person is blond and blue-eyed going to an Asian country, for example. But what is it like when you look the same as those people, and you’re expected to fit in? How do you put that interiority on screen?"