Bai Ling is an American-Chinese actress known for various roles in film and television shows. She started her acting career in 1981 in China and continued doing this when she relocated to America. Bai Ling is recognized for unbridled freedom and creativity, Bai Ling has become undoubtedly one of the world’s most diverse and captivating actresses!
Q: Your parents are both professors. How did that influence you to become an actress?
BL: Well, my father teaches music composition and my mother teaches comparative literature. So when I was a child, I learned an instrument. They asked us to play the violin and the pipa, the Chinese traditional five-thousand-year old instrument, the pipa is like a guitar. I played the instrument professionally. I sing — when I was in school, I already was singing. I didn’t go to school much, but me and another girl were singing around the city or the country, just performing everywhere. So I always had something to do with music.
Then I started to do gymnastics and ballet, because my body is flexible. So my parents actually took me out of it, and they said they wanted me to be a professor or a doctor, or something more substantial, not a performer. I had to sneak out of the house to do the ballet and all of that. They said “Don’t do it.” They asked me to stop.
But finally, it’s like, it’s my fate. I can’t escape. No matter how much I try, I still come back to the parts I’m meant to work on. So I still come back as an actress. For learning an instrument, learning music, and literature because I read a lot of books, I have to thank my parents. And with nature, I nourish my soul. My soul actually is built with poetry, music, nature. And fun, I like to have fun. So my soul is formed that way. A good actress needs all of these [things]. You have to nourish [yourself] inside. I think that’s how it’s my fate, I can’t escape.
Q: You lived in Tibet for three years before establishing yourself as an actress in China. One of your first movies was “Shining Arc”. What made you decide to go to the United States? Was it because of censorship, or lack of opportunity in China?
BL: Actually, my very first film is called “On the Beach” [“Hai Tan”, dir. Wengji Teng,1984], a Chinese movie. I was really, really good in that movie. And that movie at that time was selected by the Cannes Film Festival. But for whatever reason, it didn’t go there, or wasn’t allowed to, I don’t know.
My second movie was “Arc Light” — “Shining Light” [“Hu Guang”, dir. Junzhao Zhang,1989]. In that one I played a mental patient, a very difficult role, very hard to play. I stayed in an actual mental hospital. I feel like I have a little mental problem, which is, I think, a little bit different from people, especially in Chinese culture. There, people think alike. If you think differently, you’re not in the system. You’re kind of an outsider.
Q: They ostracize you.
BL: Yes. So I’m kind of like that, always my personality is really different. That’s why I say I landed from the moon. I feel like I’m an alien. I feel like even though I was born in China, my soul is universal. So I feel there’s freedom, there’s something I’m missing and want to have. So more than I want something to fill my soul, instead I want to achieve something, I want to be an actress. These are less important. I feel the world is so big. I only know Chinese language, Chinese culture, and Chinese food. I want to know what the other world, the Western world, what it’s like. It’s more like a curiosity. My soul’s curiosity led me to my journey.
So the transition is not like I purposely planned for a visit. I purposely planned to fulfill myself, to be joyful, living a joyful life. The second movie we mentioned, “Shining Arc”, brought me to the Moscow International Film Festival. That film got selected, and I was so good in that movie playing a mental patient. Very dark, but very beautiful. She thinks a woman is different. Nobody understands her. She’s always thinking there’s a circle there, and eight. Eight, by the way, is my lucky number. Eight, because it’s infinite — there’s no beginning, no end. So that film was selected for the Moscow film festival and I got there with the government. New York University, at that time, the head of the university was there and I got to meet them. Basically they gave me a scholarship and invited me to NYU film school as a visiting scholar.
But I did not speak English. I had a scholarship at Lee Strasberg [Actors Studio] and I went to one class. I prepared for one play, “The Glass Menagerie” [Tennessee Williams]. I memorized a monologue, and after I finished it the teacher said, “You are a master.” I didn’t understand “master”, I said “What do you mean ‘master’?” You’re the master, so what is master? I looked in the dictionary. Finally I asked him “What is master?” He said “Master is you are great. You are a master.” I said, “If I’m a master, why would I study?” So I quit.
I tried to make money, working different jobs. Then a teacher said “Bai Ling, this scholarship is very expensive, and everybody wants to get into NYU. You have this scholarship. Either you show up to the class or you give it to somebody else. You don’t show up” — because I was tired of working. And also, if I’m the “master”, why do I have to come? I actually gave it up. I said “Take it to somebody else. I don’t need it.”
Because I [knew] all I needed was English. As a performer, I’m already a master. That’s why I started learning English and started auditioning. Every time I did not speak English, but I have this confidence also. Probably a lot of fans want to know how they follow their dream. You have to know who you are. I don’t speak a language, that doesn’t mean I don’t have the talent. I cannot [explain], but as Bai Ling, as a performer, I’m still number one master.
But that doesn’t mean if you don’t speak the language you become something different. So you have to understand, if you don’t know your language you should work on your language. If you don’t know how to dance, you can learn to dance. That doesn’t mean you don’t have the talent. That’s something always in me. I love who I am. I know I am a great actress. So that gave me so much confidence that therefore I achieve what I achieve today. It means I enjoy doing what I do, I know what I’m doing. The language I can pick up. The dance, too. Anybody can learn. It’s not the talent — a child can learn.
So I always [have known] who I am, because I found the joy of doing what I love to do. It’s the joy that guides me. I’m like a child. I’m single, not married, because I like romance. It’s the most pure, most gentle, most delightful and exciting. If it’s family, if it’s wife, literally — especially for women, you’re a nanny — taking care of husband, taking care of kids. That feels very heavy for me. If [you] take the romance away, I don’t like that. I like to have romance. People say “You don’t have a husband” but I have a boyfriend. Different boyfriends for different reasons, in different countries. How cool is that? Instead of just loving one man, doing all the service, it’s just different.
Also, I learned that life is not about years or ageing. It’s about that moment in life, what makes you happy. Actually the reward, whatever reward — you come to interview because I give something. So as a performer, whatever strikes people, they like what I do, then people come to my [performance]. It’s something I give. I always knew, when you have a talent to give, you will get what you’re asking for.
So those are my paths. All those Playboy covers, also. There was an Asian [version]. Hugh [Hefner] asked me, I rejected it for three months. I said “I don’t want to. I don’t want it.” He said “You have to get Bai Ling. Do everything to get her.” See? I said “No. This is the Western man’s bible. When they’re peeing in the bathroom, they’re looking at a woman.” They said “Hugh Hefner is very picky. He doesn’t care about stars, but he wants somebody sexy in his eyes.” And all the stars want to be on Playboy covers but he doesn’t care. He said “Bai Ling, it’s an honor.” “Really?” It took me three months to decide. But I still don’t want to do it because my parents, my whole country, know me. Playboy is like porno class. I said “Okay, I’m going to ask [for] a lot of money, then they will say no. Then I’m out.” I asked [for] a lot of money, Hugh Hefner said “Whatever she wants.” I said shit, I should have asked for more.
Q: You were in “The Crow” [dir. Alex Proyas, 1994] with Brandon Lee. What was it like working with him?
BL: Actually, that was my first English movie ever — my first Hollywood movie. I spoke English while doing the film. I was so bizarre — almost like, as I said, an alien — jumping into this set in Hollywood which I didn’t understand. I didn’t know anything about it. My role was such a substantial, good role. Even Michael Wincott [who played Top Dollar] said “Oh, you cast the wrong girl.” Because at that time my sentence was “My English is poor. I come from China.” And that was the ask I could say. But I looked [like a] very innocent girl, long hair, no makeup, dressed in jeans — like a girl. But when I put the costume on and everything, I walked out — and everybody was shocked. Suddenly I was transformed into this creature that had so much power. Everybody said “Wow! She’s so different.”
With Brandon Lee, they put us next to each other during makeup every day for two hours. He would teach me to play video games, and then he started talking to me. After a few days, he said “I heard you’re Chinese.” I said, “Yeah.” He said “I’m Chinese.” I said “No way, you’re more handsome than a white guy.” I didn’t know, right? He was a handsome white guy. He said “I am half Chinese.” I said “Who’s Chinese?” He said, “My father.” I said “What does your father do?” He said “My father is a big movie star.” I said “Okay, what’s his name?” He said “Bruce Lee.” I said “I never heard of him.” He said “You never heard of him? You probably are one of the only two people in the world who never heard of my father.” I said “Really? Bruce Lee, I really don’t know.” So I felt bad, because he was disappointed. Then I called my friend in New York — actually I was in North Carolina — and I said “There’s this actor working with me who said his father is a big star, Bruce Lee. Do you know —“ He said “Bai Ling! Yes!” I said “What’s his name?” He said “Li Xiao Long” — his name in Chinese. I knew little English, how do I know his English name, right? I didn’t know.
Next day I said “Ahh, I know who your father is: Li Xiao Long.” He was very proud of his father. He was. But also he didn’t want to be the shadow of his father. He was struggling a little bit there. And he was so caring of me a little bit. I felt I reminded him a little of his father from China; not born here, didn’t know anything here. He probably thought, this girl doesn’t even know what she walked into. He was very caring of me, very kind.
I feel like also because I’m [in movies], I fall in love with movie[s] because the cinema can change time. No matter what happened to him — or us, all of us — that moment of capture in cinema will always be like that, always that moving image. See? We’re changed — it’s magic to capture that life.
And also I learned something: I don’t believe in death. So even though he’s not here, every time I talk about him, I feel his presence. I think our body is a house for our spiritual being to live. After eighty, whatever years, it’s old or sick, the spirit jumps out. It’s still alive, it’s just the body is worn out. So I don’t believe in death, therefore I can accept that he is not there in the same form as a human with us. But his spirit is here.
Q: In the Nineties, there were a few films with an Asian cast, such as “The Joy Luck Club” [dir. Wayne Wang, 1993]. What was the challenge that you faced back then as an Asian actress trying to get significant roles?
BL: The question is good. But because my mindset is different, my approach is totally different from a lot of people. I don’t think I’m trying to get anything, get any role. I don’t think so. I believe we [receive] our talent [from] God, the universe, the higher being, who will guide you, to watch us. I’m so pure, I give everything to what I do. Then I think that this is two, we’re two, of the nature of the universe. These two are so pure, so good. They’re going to give me stuff to do, to use my talents. I don’t have to try, I don’t have to fight. I don’t have to wonder, I don’t have to worry. Because everybody is part of this already. We just have to have faith.
What is faith? Something you don’t see. But if you’re actually trying to manipulate doing something, you’ll be disappointed. On the way you’ll be bitter because it’s hard for a human life to comprehend to succeed. But if you trust your faith, it’s all planned, God will take care of you. Things always work out. How human is that? You don’t have to struggle, you just give everything you do.
When I’m acting, if the director looks at my eyes and says “Bai Ling, this is the 80th floor, you jump.” “If you look at my eyes, it’s safe. I am jumping now.” That’s how committed I am. With that energy, that power, that magic. Move it to another good movie. Just keep moving. Everybody had their break. If it’s not mine, I’m happy for others. Mine will come. Your chance will come. You don’t know when, you just have to do what you love to do. Give the best. For me, if I’m going to deal one dollar versus needing a dollar, I’m going to give you equally my talent. I don’t give you half-ass because that depends on you keeping your personal good quality. You’ll never lose yourself. No matter how much money you get, you give the same pure hundred percent of who you are. That’s my suggestion. Find out what your talents are, give your hundred percent, you will be rewarded more than you dreamed of.
Q: Regardless of the size of the role, you connect with each of the characters. Do you think it’s more important for Asian actors to do that? Constance Wu suffered trauma after she shot to fame in “Crazy Rich Asians”.
BL: I kind of disagree about Asian actors and actresses creating what they do. Most of those actors are born here. They are not Asian, they look Asian. They’re Americans. I came from Asia and I feel like I made my own mark like in “Red Corner” [dir. Jon Avnet, 1997] my first leading role with Richard Gere. All of them are in the community born here for so long. They got that chance, it’s their community. I’m sort of not included because I’m not from here. This could be a perfect American accent could be a perfect accent for an American, I just look Asian. I’m from a different country. I understand that. I don’t fight for that because they cast whoever they want.
And so if you’re Asian and you got that role, you have to appreciate it. That’s just my approach. Everyone wants to have the job. Well, you have the job. If you cannot take it, then you quit the job and let other people have it. This is the right approach. You cannot have the job and complain [all the time].
For me, [it’s] a different approach: what is important and what is not important. We come in with nothing, we leave this world with nothing. Everything, all our achievements, are going to be gone. What’s important? It’s a moment in a journey. You are a great person whether you are a star or not. You are the star in your world. I am still the star in my world. When you have that, it will actually bring you the best roles, because of the power, the trusting. The difference [from] what you directly access from the universe: that innocence, that purity, that honesty, that appreciation of life itself. It’s not all what you’re achieving. Achieving something is fun, it’s a game. But don’t take it seriously to hurt you. I see a lot of people take drugs, kill themselves, because they didn’t get the role, didn’t get recognition. That’s a waste of your life. Your life is so much more meaningful than that.
I’ll give you another example. I went to a big, expensive Beverly Hills party, expensive, for a children’s charity. All the ladies — one ring, $7 million. Another ring, $8 million. One [pair of] earrings, $2 million. It’s money you cannot even imagine. I don’t wear any jewelry anymore because I feel like I’m a wild animal and it’s a trap. When I got there, they said “How do you feel here?” My reasoning came out; I said “I don’t want to say something, I don’t want to offend anybody.” They said, “Say it.” I said “Look at all these ladies. They compare themselves, they have to use a stone to [be approved], to measure their value. This is just a stone. It’s a stone in nature. We gave them seven million [for the stone]. We can’t give one penny. Ten billion, right? You are a live human being, so much more alive than a stone. You have made yourself like that and you use a stone to show how wealthy, how worthy you are. So stupid! You’re a human! You’re dynamic. The stone is for fun. Why do you lose your magic? You literally lose your life, you’re living under that stone.”
A lot of Asian people spend their whole year working to buy Louis Vuitton. I’m not saying it’s not good. But your whole life to buy it. You don’t enjoy it, you don’t even want to use it. You use it to show other people to show other people you’re important. You’re missing life, your whole life is [about] trying to [get] the approval of others — and they don’t even give a shit about you. Why are you doing that?
When I go to red carpet [events], I dress in anything, it’s for me. The designer stylists [say] “Why don’t you wear this?” I say, “I don’t want it.” They said “Do you know how much —“ I said “Don’t ever mention it.” [They said] I look like an old lady. I don’t want it. I don’t give a shit. I’m wearing what I feel comfortable in. I did it with Luc Besson — you should mention the movie “Taxi 3” [dir. Gérard Krawczyk, 2003. Besson wrote it.] I was a leading lady, I learned French, which I did not speak. The leading lady for the number one director in France. The movie was number one at the box office. [Besson] said “Bai Ling, you go there, we’re going to get you all these designers’ dresses for you to wear.” So I got there and when I tried them on, everything was big on me and I’m skinny. I ended up wearing my own wardrobe in the movie. I said “Look! Look what you see.” He said “Bai Ling, it’s not what you’re wearing, it’s how you wear it. Look at you, you look beautiful. Coco Chanel, it doesn’t fit, it’s too big.” He was one of the biggest directors already. He didn’t give a shit. He said “Bai Ling, look at you, compared to this lady wearing a designer outfit. You stand out more than her.” They lost out on two names. The designer is great, but where are you?” But on the red carpet, they always love me.
You know, a big star, like Jennifer Lopez or whoever, wears Armani, Dolce & Gabbana, all of that. Where are you? You’re a slave to this. For me, it’s great, but I am Bai Ling, it’s my world. I want to show myself. I’m not a slave to this. I love them, but I’m not a slave to it. We are slaves to all this baggage, especially Asian culture. You can be miserable, you’re going to spend so much buying that name bag, you’re still not going to be happy because you’re bitter, and your light is not going to shine. You’re not going to be attractive. You’ll lose your charm, your beauty, because so many different things are happening to you.
Look at me, making it this far. I did not marry a rich husband to support me. This should encourage young people. I made it without speaking the language. I did everything on my own, and I’m proud of it. You don’t need a rich husband. You don’t need million-dollar clothes. For me, sometimes, I use my thousand-dollar coat. You don’t even know this dress. Any dress you’re wearing has less than two hours of life. The red carpet, I cannot repeat it. I have to buy a new one. What a waste, right? I feel like now I can wear anything if it’s good, because after 45 minutes of life I change into another one. So we have to somehow break this social [demand] — because it’s a habit on the self. They want you to buy. It’s great, but you have to understand what’s the purpose of it.
And also another thing I want to say. A lot of people say “Oh Hollywood has to change, there are no Asian roles” — all of that. That’s the reality. We have it in Japan, in Asia. Do all Japanese movies have a white girl leading role? There’s no way! Right? They’re all Japanese ladies because that’s the market. It’s a product. This Western world, the majority are white — or Black, [Latinx]. Asians are a minority. For anything Asian, who’s going to watch a movie? That’s just reality. Why do you fight that? You can’t win. You. Can’t. Win.
It’s like everywhere there’s a Japanese restaurant, there’s a Chinese restaurant. Who’s going to eat it? What, are the white people going to [go] starving? Because it’s their culture. If we have one we’re trying to get more substantial roles, like “Red Corner” — a beautiful role: conservative, smart, intelligent, contemporary lawyer — it’s a great role. But not every movie is going to have an Asian lead. Why do you have to fight for it? It’s like you have to [hit] your head against a stone wall. You ignore the reality. In Japan, how many white leading roles in Japanese movies? There’s none. Only supporting little roles for whites, right? If they try to live in Japan, they’d be miserable as actors. You can’t find the big role for a white girl. The same here. It’s so unrealistic and stupid to ask for that.
Q: So it’s important to acknowledge the reality.
BL: All the roles I played, a lot of roles, I was Asian — even “Crank 2[: High Voltage”, dir. Mark Neveldine and Brian Taylor, 2009], “Wild Wild West” [dir. Barry Sonnenfeld, 1999] too. All these roles I play, [they’re] not written for Asians. I did not change the name. I was still a read-haired girl. A lot of [my] roles have nothing to do with Asians because they liked me and I played. So that’s what we’re trying to do: to get the roles not written for Asians. You can do them, but you have to know the reality. The majority of roles are for whites. Now they don’t even consider, they just give me a role if I’m good. So what we have to do is not [be] desperate to fight for anything. There’s nothing to fight. We’re at peace.
You just do whatever as an actor. Show them as good performers, as Asian performers. Like me: I’m a great actress. Even the best coach in Hollywood — after I did “Red Corner”, she said “Meryl Streep is a master. Bai Ling is original.” That’s so much better, like I’m so real, so powerful. So that’s what you need to do. Do your best. And also, make your peace. White people, Black people, they all need jobs too. It’s their country. We’re here — I’m appreciative that I even got a role here. “Why do I have to fight to get [a role]? I’m better.” — It’s not about who’s better. We’re all good.
A lot of the second generation Asian Americans are bitter, because they’re living in Chinatown, in the community that never gets to the white world. But for me, talk about racism against Asian races — I never felt that. Everywhere I go, the red carpet, they treat me like a princess. It’s how they treat you. It’s not like you’re trying to get them to like you. You’re already bitter, you’re already against them.
If I can work and I’m open, who’s going to get me? Look here: there’s no Asian, just me. So if you’re open to it, it’s like what you give, you’re going to get the same. If I love them, they’ll invite me back. If I just say “You white guys, you don’t give me roles”, they’re going to hate you, too.
Q: It’s best to have a positive attitude towards any job that you’re offered, right?
BL: You give the best. We all have a different journey, right? If you trust your journey, keep going. The gifts are going to come. You’re going to get the role. Even if it’s not what you wanted. With every little role, I’m having so much fun. Even talking to you — this is our time to share with the audience. It might inspire them; so many people are lost. That’s our gift. When you have that, your life is joyful, your life is beautiful. You’ll be happy if the best of you comes out. When your best comes out, you attract the best. That’s the key.
Q: Once you have this positive attitude, you also are showing it through your SNS, which I find is liberating for an actress to send a positive message through their SNS. So what’s your philosophy about that?
BL: First of all, I appreciate life. My philosophy is to appreciate life. I really value and treasure this beautiful life. We’re breathing. We’re breathing, this heart is breathing, its blood is pumping. It’s not going to be forever. It’s so precious. I value that. I’m in love with life. First, All others are full. What I do for fun in this life. That’s all a bonus. It’s not that important, but how to value life. Find your core to appreciate every moment and live fully.
For example, I use a flower: I’m a rose. We each have a rose. She’s going to blossom, that’s her nature. You put it in a corner in the garden, in a library, in a museum, and I’m still going to do the same: I’m going to blossom. You’ll watch me or not, I’m still going to blossom. It’s my nature. I am there. It’s not because you’re watching me. Not because you like me. Not because you don’t like me. Not because you notice me. I’m nothing to do with anybody. This is mine. It’s because I’m going to blossom, not watching. I’m going to dance, I’m going to be happy. You’re watching me dancing, being happy. I know my nature. This rose, if you see me, you smell me, you’re lucky. You don’t smell me, you don’t see me, I’m still going to blow my scent, my beautiful scent, my light. Wherever you see me, this is the beauty that nature created, and that’s enough. When you’re pure to that beautiful rose, everybody walks by. Everybody gives you a gift. Everyone wants to put you somewhere. See? Because it’s not by you or anyone. Because you’re loyal to the core of your soul. I’m the rose. How can you not want it? I’m not an Asian rose — I’m the rose. You’re going to pick it up to give as a gift. If I’m beautiful, you’re going to pick me up.
It’s not because I’m this — No. I’m a creature in the world. I see you, I see the — I don’t even know what I look like when I’m talking to you because I don’t look at me. You look at me. For me, the world is a big family. So I think it comes from [being] Asian. It comes from knowing. It comes from knowingly enjoying celebrating life, of who I am. Some people like me, some people don’t like me, it doesn’t matter. But I have to be loyal to myself.
Q: You directed your first feature film, which is “My Quarantine Romance with Toilet Paper”, which is an interesting title. What is the story about?
BL: You’re so good to mention that. I also want to say — because you have a lot of fans inspired by your program — this movie is a comedy, but it’s coming out of the most difficult time. What I want to say is, no matter how difficult those two years, most people had Covid at the beginning of the year. That’s the worst thing in the whole world. But it had a birth — pregnant and had a birth at that time: my first feature film. And it’s a beautiful thing. See? With all that, it still was born.
That means, everything — even if you’re sick or something — there’s always beauty. It depends on how you look at it. A lot of people get sick, they commit suicide or whatever. Look at me: I made a feature film. At that time I had no money, I had nobody to help because nobody would work. So I have no actors to direct and I can’t pay. So I have no manuscript, nothing. I just had the idea. My friend says “You can sell the script for money. You have money, you don’t have a script. I heard you wanted to make a feature film. How could you do it?” My answer was “Because I’m Bai Ling. Because I have the universe behind me. That’s powerful.” It’s like people say, “Oh, what are you talking about?”
That’s called “faith”.
If I gave my script to a studio, there’s two changes they never can make. I’m the director, I’m the writer, I’m the casting director, I’m the star, I’m the composer. I composed eleven songs and music. Only Charlie Chaplin did it in all [film] history. No director or composer. And I play Charlie Chaplin in my movie. It’s a story, making it simple. It’s a quarantine romance about toilet paper. It’s twelve guys who come to visit me, giving me toilet paper in exchange for sex and romance.
Q: That’s crazy, but it’s interesting.
BL: It’s fast-paced. Like young people will answer the door, the roller-coaster might — all my team are very young. My editor is 24, they’re all young. I said, “I need to take pictures.” So when they watched it, it was so funny. Because Covid is sad, I make it funny. It’s a love story, basically. It’s like Charlie Chaplin. Funny story — you laugh, you cry. It’s something very powerful. It’s my love letter to the world.
Q: Are you going to send this movie to some of the festivals?
BL: Yeah, I’m trying to. I just finished post-production. I did post-production, I’m learning everything. So I do craft services, I’m an art designer, everything. Now I know how to make films. I’m going to start with the festivals. I feel like it’s going to go viral. Because it’s so contemporary, a current subject. Everybody experienced no toilet paper.
After that, doing a Broadway show would be cool.
Q: I was going to ask you about this. Now that you have directed and produced a film, what is the next direction you want to head into? A play?
BL: I think “My Quarantine Romance . . .” could be a Broadway show. Because it happens in one room, and different people come. How cool is that? She’s different, a little bad, I change with different guys, so much fun. Everybody comes nice, wanting a romance. We all had a perfect disaster: I didn’t get toilet paper. And then it becomes so funny. It’s crazy, really. There’s an older guy, a younger guy, different looking, different colors of guys. Really a long story based on Covid. Masks on, masks on kids, it’s just the reality of Covid.
I think it’s so cool, this idea. I feel the universe gave it to me to make this. It’s very sweet, very touching, and it’s about love and romance. It’s very fast-paced. It’s almost like Quentin Tarantino. It’s very unique, my way of making films. It’s a ground-breaking film language. So fast, but different. And with the music, it’s very contemporary.
Q: Thank you so much.