Chang-Rae Lee Quotes

I don't want to direct a movie as good as Antonioni, or Kubrick, or Polanski, or whoever. I want it to be my own. I think I've got the seed of it and, what's more, that I can make movies that are different and informed by my taste.

If we want a better original idea, we must generate our own before we screen others' suggestions.

Luckily, what you trade off in not being part of the comic book canon and not having some literature that you can use to your benefit, in terms of figuring out who you are, you gain in the ability to just be whoever you want to be.

When people ask me my influences and I'm like, "nobody" they're like, "there has to be somebody." People seem to think you have to have an influence.

I was meticulously copying other art and then I realized I could just use a camera and put my time into an idea instead.

My friend, Dennis Mathis, was reading Eastern European and Japanese experimental writers, and I brought the Latin American writers to his attention, so we exchanged books and bounced off one another.

I knew naturally as a child not to forfeit my creativity to a world that's all laid out for me. I'll look at everything around me and vow to keep in mind that alla this is just someone's idea. It could have just as well been mine.

I basically just make films that interest me. And I don't want to make the same film twice, you know? But I've never found a franchise, so... I guess I'm lot poorer because of that, but... what astonishes me is that, at my age, I can still find things that interest me. And that's tremendous.

We've never pulled from the toy line. We've always pulled from the mythology. What's great is there's so much mythology, so there's always stuff to pull from that. It never lines up perfectly for a movie; it's just like adapting a book or anything else, you know? But you come up with things to create, you come up with different ideas, but fundamentally the ideas always start from the mythology.

Obviously it's easier when I' m doing the adapting myself. But my feeling is, your potential upside far outweighs the downside. Ultimately, they [moviemakers] can't change your book. Your book remains on the shelf the way you wrote it. If they make a great movie of your book, then you have the equivalent of millions and millions of dollars of advertising for your book. If the movie's not that good, that doesn't mean the book's not good. It doesn't change what you've already written. It has the potential to reach more people.

I take no notice of the trends. It has never concerned me at all. My job is to deal with what I want to deal with and reach an audience by doing so.

Advice to a new writer: There are no rules in this profession. Do what is good for you. Read books and watch films that stimulate your writing. In your writing, go where the pain is; go where the pleasure is; go where the excitement is. Believe in your own original approach, voice, characters, story. Ignore critics. Have nerve. Be stubborn.

There’s no grand plan. All I know is that I write the books I want to write. All that other stuff is meaningless to me.

If there's the right condition, I always want to express the concept or ideas in a very independent way.

Perhaps whatever there is in my work that may be really interesting to others and surely what is interesting to me, is the result of a sometimes successful effort to free myself from any idea that what I produce must be art.

It was an interesting thing to do. Why did I write any of my books, after all? For the sake of the pleasure, for the sake of the difficulty. I have no social purpose, no moral message; I've no general ideas to exploit, I just like composing riddles with elegant solutions.

Let the writer take up surgery or bricklaying if he is interested in technique. There is no mechanical way to get the writing done, no shortcut. The young writer would be a fool to follow a theory. Teach yourself by your own mistakes; people learn only by error. The good artist believes that nobody is good enough to give him advice. He has supreme vanity. No matter how much he admires the old writer, he wants to beat him.

We didn’t want to disrupt the creative process. We have the chance to make the films we want because the films are not expensive. It’s very rare to be able to do that. It’s completely pure.

The fun thing we get to do is mess around playing all sorts of different people. People that really existed, people that exist in a book - whom people love and have a specific idea of who they are, and you kind of have to work with that - or people that you can take a completely fresh look at.

If you want me to treat your ideas with more respect, get some better ideas.

Because you're delegated to a cook book recipe and you slavishly and pedantically rely on it while you're shooting and you're not relying on your creative instincts and you're not relying on something which brings life into movies and excitement into it.

I am dead against art's being self-expression. I see an inherent failure in any story which fails to detach itself from the author-detach itself in the sense that a well-blown soap-bubble detaches itself from the bowl of the blower's pipe and spherically takes off into the air as a new, whole, pure, iridescent world. Whereas the ill-blown bubble, as children know, timidly adheres to the bowl's lip, then either bursts or sinks flatly back again.

If you ever write a book, I can only give you one piece of advice. Don't let your parents get involved.

A book lying idle on a shelf is wasted ammunition. Like money, books must be kept in constant circulation... A book is not only a friend, it makes friends for you. When you have possessed a book with mind and spirit, you are enriched. But when you pass it on you are enriched threefold.

Style is something you can use, and you can be like a magpie, just taking what you want. The idea of the rigid style seemed to me then something you needn't concern yourself with, it would trap you.