How did you meet Christopher Doyle [cinematographer on Temptress Moon and Gus Van Sants Psycho]?
My DP [Changwei Gu] was not available at the time, having just moved to L.A. I told Chris that it was his turn and he’d always wanted to work with me anyway. Did he generally work faster? He’s good, but he’s not really faster. I think the reason [I] wanted to work with him [is] because he is a foreigner, seeing light differently. He did pretty well–a real artist, very anti-Hollywood at the time. That’s why I’m surprised that he’s here, making films in the States. But he is good. His only problem is that he drinks too much. How much has changed for mainland Chinese film since the 1997 Hong Kong turnover? I don’t see a lot of change. The fact is that quite a long time ago, Hong Kong movies used to saturate the [mainland] Chinese market. But now, the industry there isn’t doing very well. You probably hardly see any HK films stateside. They were considered foreign films, too, in China. How have the subtitling regulations changed? Well, because most people in China don’t understand Cantone
