I think that learning Burmese has to have been one of the most challenging things that I have had to do for a movie.

When I made my first film, it was just an adventure. But after my first movie, I guess I got more of a feeling of what was happening around me.

When you face up to bad things in the past, the most important thing is not to allow them to happen today or in the future, and as storytellers, we must play our part in that.

My career in the movie business began in Hong Kong, my heart has always been tied to Asia, and it is immensely gratifying to see international recognition for Asian cinema as a whole.

Both my mother's family and my father's family go back almost a hundred years in the district. I was born in the district, raised in the district, raised my family in the district. And so that's the way I see myself.

I owe my whole career as a storyteller to my father. He was an actor/director/producer and teacher.

The first neurologist I saw just thought I was partying too much, and he stuck by that claim even after my family insisted that he was wrong.

Coach Dyer was a great mentor for me and a great teacher.