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Eventually, it came to this place like, 'I'd like to direct, but I need to find the story to tell.' 'Man of Tai Chi' became the story to tell.

All I wanted to do was read, to be told stories. Stories were full of excitement and emotions and characters that entertained and often inspired.

I was just fascinated with how everyone else in the world lived, and I was interested in telling their story.

I went to the studio of Fischli Weiss, and it was magical. I thought: 'This is what I want to do with my life; I want to work with artists and be useful to them.' I was magnetically attracted.

I wanted to write a story that demanded the viewer's attention.

There was one very special scene at the end of the film. My character, Zhao Di, has been sick. She wakes up and her mother tells her that the man she loves has come back from the city and had spent the day by her bedside.

I wanted to analyse and understand how the Chinese people could have their lives so crushed by fear.

I want, through my roles, to express the parts in the hearts of Chinese women that they feel unable to let out.

I chose to write the kind of romance I love best - one with a sheikh hero.