Chinese - Director | July 17, 1956 -
I think of action as a dance. It's a riddle; it should have emotion in it.
Wong Kar-wai
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I sometimes compare making a film to cooking. Some dishes need to be stewed, while others need to be fried.
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My films are never about what Hong Kong is like, or anything approaching a realistic portrait, but what I think about Hong Kong and what I want it to be.
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In my first film, we always tried to have a script and work in a normal way, but I was constantly changing things during shooting. Because I worked as a scriptwriter for 10 years, I understood that directors always wanted to change what was originally written, to improve on it.
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I don't do rehearsal. Some directors prefer to do rehearsal - readings before the actual shooting - but I don't like this process because I think there are certain things that are so spontaneous, and they cannot happen twice.
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It is always good to work with a very regular group of people because we know how high we can fly and what are the parameters, and it becomes very enjoyable.
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To me, romantic means, um, you follow your heart more than your mind. Sometimes when you're shooting a film, you have to follow your heart.
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Americans always see China through the looking glass, and I think it's about time - with technology and of the growing economic relationship between these two countries - I think it's natural and better for all of us to have a better understanding of each other.
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The original title for 'In the Mood for Love' was called 'A Story About Food.' The idea was to tell a love story through different courses.
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For 'Chungking Express,' the way we shot the film was all handheld and with all this existing light, and that became very popular. Everybody thought it was cool.
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I'm not coming from film school. I learned cinema in the cinema watching films, so you always have a curiosity. I say, 'Well, what if I make a film in this genre? What if I make this film like this?'
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I was born in Shanghai and moved to Hong Kong the year I was five.
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