Wong Kar Wai Quotes

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What's so great about inspiration is sometimes it finds you when you're not looking.

Sometimes, we have to turn our camera to a mirror to shoot something, and people think, 'Oh, that's very stylish.' Yes it is, but at the same time, we did it because we are shooting in a very small space, and that was our only option.

I don't want to be a grumpy old man or too pessimistic, because if I have a chance, I would prefer to watch a film in the cinema with an audience on a big screen instead of watching it on a cell phone. It's a very different experience, but somehow I think this form will have its own future and life.

I was born in Shanghai and moved to Hong Kong the year I was five.

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.

I never studied film formally at school, but as a kid, I spent most of my time in cinemas.

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.

I came to Hong Kong when I was five, but we didn't have any relatives in Hong Kong. My mom is a big movie fan, and she watched all kinds of movies, so when I was a kid, basically, we went to watch a movie every day.

Sometimes, when you're on the streets, certain music inspires you, and then you have a vision. But, at the end of the day, it's a synthesis of visions, so you have to think, as a director, of a scene, or how to deliver a line, or how do this visually.

Some actors like encouragement. Some actors prefer to have pressure. And sometimes, for some actors, its better to give your comment by silence, because they are so skillful, so gifted, that they understand without talking too much.

I didn't know anything about martial arts. I'm a big fan, but I never practiced martial arts.

My mother has a very big family in Shanghai, so I have, like, almost 40 cousins, so we stayed together all the time. So by the time I get to Hong Kong, I become the only child and the only one surrounded by adults, you know.

I think one day I can make a book about coffee shops in Hong Kong. I spent almost most of my time in coffee shops, in different coffee shops.

Each production has certain circumstances that will bring you to a certain way of making it. It is not intentional, it is not an artistic decision, the way we make films, it is the way we address to our problems.

I'm not very aware of styles. We never talk about styles before we start shooting, or even during shooting, because I think the film will bring you there.

Heritage is something martial-arts films don't often talk about.

I'm a big fan of martial arts films, novels and radio programs.

1936 is a very important year: a golden time for martial arts, right before the Japanese invasion.

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