Now I'm Kind Of Established As A

Making This Movie As A Period Piece About A Period That Was Very Recent In People's Minds. I Was In Taiwan [during The 1970s], So I Hope I Did All Right. Otherwise, It Could Be The Biggest Embarrassment Of My Life. Also, The Story Is Not Linear, It's Patchy, Like A Cubist Painting, And There Is Always The Possibility It Will Not Hold Together, It Will Fall Apart. The Tone Is Part Satire, Part Serious Drama, Part Tragedy, All Mixed Together, And It Has To Hit An Emotional Core. That's Also Very Scary.

Many Times When You Make A Movie, It Feels Like Your Biggest Mistake. But Even If A Film Isn't A Hit, You Shouldn't View It As A Mistake.

I Don't Like To Deal With Studios. I Don't Like To Have Conversations With Executives. I Pitch To The Studio, Then Never Talk To Them Until The Test Screening.

For A Filmmaker, It's A Rare Chance To Do A Personal Film On A Big Canvas.

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.