Sometimes films ignore other points of view because it’s simpler to tell the story that way, but the more genuine and sympathetic you are to different points of view and situations, the more real the story is.

The way I go about a lovemaking scene is that we will talk about it during the rehearsing time.

On a Chinese film you just give orders, no one questions you. Here, you have to convince people, you have to tell them why you want to do it a certain way, and they argue with you. Democracy.

Sexuality is a big issue, but there are others – how much you commit to a relationship, to social obligation, to honesty and being honest with yourself.

I think people are universal.

Meanwhile, the Ice Storm was still in development, And that was something I really wanted to do, and frankly I don’t think I was ready to do a big production like this.

Now I’m kind of established as a director, I much prefer directing to writing.

My first instinct was to cast as close to the short story as possible, but then I realized that I needed actors who could go for it and that they had to function well as a couple in a love story.

I am a shy person.

In the past I’ve made movies that were pretty universally liked. You can’t really hate them. You can discard them, but you can’t really hate them.

To me, Ennis stands for the conservative side of America. He’s the biggest homophobe in the whole movie – culturally and psychologically – but by the time he admits his feelings, it’s too late.

Sometimes films ignore other points of view because it’s simpler to tell the story that way, but the more genuine and sympathetic you are to different points of view and situations, the more real the story is.

When there is a strong woman character in a story – that always grabs me.

I did a women’s movie, and I’m not a woman. I did a gay movie, and I’m not gay. I learned as I went along.

Usually with this genre the first thing that happens is a good fight sequence to show that you’re in good hands. So we broke that rule. I think a lot of that comes from the western audience.

The most mysterious feminine factor, the existence that we men, we don’t know. It’s woman. It’s feminine. That’s what the sword is about. That’s the symbolic meaning of the sword.

Not taboo – it’s just that straight actors still risk their careers commercially and economically. They have to please the crowd – they’re movie stars; their image is their industry. It goes beyond acting.

So many times you see beautiful lovemaking scenes with a lot of exposure or an awkward lovemaking scene, but I think it’s very rare that you see it private.

When I sent those scripts, that was the lowest point of my life. We’d just had our second son, and when I went to collect them from hospital, I went to the bank to try and get some money to buy some diapers, the screen showed I’ve got $26 left.

I think the American West really attracts me because it’s romantic. The desert, the empty space, the drama.

When I see something I like, that’s all that counts. What they use, how they get there, I never bother them.

Directing, I get all kinds of inspiration. It’s working with people. It’s a lot more fun.

I think the book struck me in a few ways that I thought very interesting to pick it as my first martial arts film. It has a very strong female character and it was very abundant in classic Chinese textures.

I took the name Green Destiny from – well there is such a sword called Green Destiny. It is green because you keep twisting it, it’s an ancient skill, you keep twisting it and knocking it and twisting it until it is very elastic and light.

I wanted to shoot straight, mainstream, somehow off-beat. Not only realistic West, which is quite unfamiliar to the world’s population – even to a lot of Americans.

When I have a full schedule like that, I don’t see myself sitting there for a couple of months, doing the research, going through a painful process, it’s just not my thing anymore.