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Anchor: Welcome to "Talk Asia". Ang, so nice to speak with you, thank you for taking time out to speak with us. I wanted to just ask you why did you take on The Hulk, I mean, it’s so different, it seems from the other movies you’ve directed.
    Ang Lee: Well, as far as I’m concerned I see hulk as my new Hidden Dragon, so to speak, I think after Crouching Tiger my interests expanded to not only drama, but some visualized effects to have the internal dramatic feelings that have a physical manifestation. Also my interests take on martial arts, or computer generated actions and that kind of art, pulpy art so to speak, really captured me. I think simply because I was allowed to, I think, get a chance to. A lot of film makers, they jump right into it, it’s kind of like I earned it along my way. It’s just some other interests I have other than family drama I would like to explore, alter ego, as you may say it. To me it’s a good chance to do psychodrama, on the other hand, explore the aesthetic visual aspect of it.
    Anchor: But why this anti-hero? This comic book character?
    Ang Lee: Well, it’s fresh to me, it’s a monster that comes out to make a mess instead of a superhero to save the day. He doesn’t save the world, he doesn’t have a cause. He represents our subconciousness, it’s his internal aggression that keeps us alive that we try to cover up, because it’s very scary. Our alter ego idea, as psychologists call it. So that’s very interesting. I think to me it’s more interesting than a superhero that has a cause and saves the world. It’s different and very fresh.
    Anchor: Ang, is there any of the Hulk in you?
    Ang Lee: Well, every snuggle I put into the movie that’s the Hulk in me. I think in life I’m a nice guy. It’s fair to say I’m a nice guy, I’m very shy and I’m afraid of people sometimes myself. I easily get scared, but when I become a film maker I think that devil side comes out and aggression comes out and I become greedy and quite like a kid, like a lot of things that interest me. Yeah, I guess the movie in a way is my alter ego.
    Anchor: You actually wore this motion suit, and did some of the movements that you wanted the Hulk to do. So you’re really the main action hero here, aren’t you?
    Ang Lee: Well, it’s kind of therapeutic. To see yourself doing that and transform to this big green giant and smash and doing that and doing all of those wonderful things on a grand scale. It’s quite satisfying. I think what we try to do here that has probably never been done before is humanize a character with a CG effort so a lot of continuity and subtlety and real life performance is very new to the animators. So to bring continuity and the messiness that is like life acting to it, somebody had better demonstrate it. So by that time the film is already cut before the Hulk was put in. I’m the best person to fill in that form. I think doing Crouching Tiger helped me know a lot of choreography and actions.
    In America there is no such help. You have to block your own shot; the director has to be choreographer. So the best way to show them is doing it. I couldn’t find any other way to do it. It seemed to work for a while and then we just continued doing it.
    Anchor: When we watch Sense and Sensibility, Crouching Tiger, Hidden Dragon and now obviously The Hulk, is there a common strategy in your approach towards your movie making?
    Ang Lee: No, it always starts out, I think I start something different, totally different. Then in the middle of production or post production I don’t know what to do anymore then I have to fall back to what I normally do. Which is dealing with the sub current of what I think life is, pretty much sense and sensibility, a struggle between personal free will, in this case the aggression such as the hulk and social obligation, you know, the force that you have to bottle up to be civilized, to survive, to live with other people. In the past it’s been social code, filial piety, those themes and, in this case, it’s a scientist that is bottled up, that’s Bruce Banner. So I’ve been doing that kind of breathing pattern, restraint exhilaration, whether it’s a verbal fight, conflict or physical fight in this sense, or repressed civilized efforts. So it’s Sense and Sensibility I guess.