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Yimou Zhang Poster

Biography

Jump to: Overview (2) | Mini Bio (1) | Spouse (1) | Trade Mark (3) | Trivia (8) | Personal Quotes (11)

Overview (2)

Date of Birth 14 November 1951Xi'an, Shaanxi, China
Nickname Lao MouZi, loosely meaning "old schemer/strategist"

Mini Bio (1)

Yimou Zhang was born on November 14, 1951 in Xi'an, Shaanxi, China. He is a director and actor, known for Hero (2002), House of Flying Daggers (2004) and Curse of the Golden Flower (2006).

Spouse (1)

Hua Xie (? - ?) (divorced)

Trade Mark (3)

Often works with the actress Li Gong
His films often explores the dark side of life in small Chinese rural communities.
Most of his films begin with the title displayed in Chinese calligraphy style.

Trivia (8)

Attended the Beijing Film Academy, Beijing, China
Part of China's Fifth Generation of filmmakers, who began making films after the Cultural Revolution. Others from this group include Chen Kaige and Jinzhan Zhang.
A former photographer
Member of the jury at the Berlin International Film Festival in 1993
Chief director of opening and closing ceremonies of the 2008 Olympic games in Beijing.
Jury president of 2007 Venice Film Festival.
Interviewed in "World Directors in Dialogue" by Bert Cardullo (Scarecrow Press, 2011).
He was fined $1.2 million for having 3 kids, which violates China's family-planning laws.

Personal Quotes (11)

For thousands of years, there's been a tradition of teaching us in China to think in terms of the collective experience, so we are rarely able to act in accordance with personal desires or emotions. Now young people, especially under Western influences, have become much more interested in themselves and their own values.
The objective of any form of art is not political. I had no political intentions. I am not interested in politics.
The Chinese censorship system has been in practice for many years. I don't think there will be much change in society in the short run. This situation has been present for a long time and it is a reality in China. I work and live in this system. There has not been a significant change.
The Cultural Revolution was a very special period of Chinese history, unique in the world. It was part of my youth. It happened between when I was 16 and when I was 26. During those 10 years, I witnessed so many terrible and tragic things. For many years, I have wanted to make movies about that period - to discuss the suffering and to talk about fate and human relationships in a world which people couldn't control and which was very hostile. I would like to make not just one but many movies, both autobiographical and drawing on other people's stories. I'll just have to wait.
When I look back at the times I shot artistic movies, I found I learned quite a lot from them. So in the future, I hope to do both - make more personal films which I prefer; and in certain circumstances, I will shoot some other commercial movies like these two [Hero and House of Flying Daggers].
Many things, feelings especially, are common to all human beings. As long as the film appeals to universal human feelings, all audiences will enjoy it.
Western audiences can gain an impression of China from my films. This is an excellent channel for promoting China's culture.
To Western audiences, Crouching Tiger Hidden Dragon, for example, is seen as something very refreshing - to see man-powered flight. But now there are more and more of these kinds of films, American movies have also begun to adopt these kinds of scenes with people flying. So after watching lots of these films, people will get used to seeing this exaggerated artistic style, and it won't be so strange any more.
Because of the influence of Chinese martial arts films, Hollywood movies are changing. The actions in the films are more beautiful, more rhythmic, and use some enhanced special effects. I think it's a great thing.
I had my first feature film as late as when I was 37, so I've got no time to duplicate."
[on Akira Kurosawa] Other filmmakers have more money, more advanced techniques, more special effects. Yet no one has surpassed him.

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