I think the point of cinematography, of what we do, is intimacy.

I know I will die with either a camera in hand or a woman on top - what more could one ask of life?

I am known for what I'm do. But I'm not a five-year-old Hong Konger, I'm not a kid demonstrating in the streets.

I really think music and movement - dance, you know - and literature inform my visuals. I think film is also based in dance. The relationship between me, the camera and the actor is always a dance.

You see the world, you end up in jail three or four times, you accumulate experience. And it gives you something to say. If you don't have anything to say then you shouldn't be making films. It's nothing to do with what lens you're using.

Women are one of the most important segments of the adventure travel industry. Women make the vast majority of travel decisions in families - not only the destinations, but the activities. They are the predominant adventure travel planners.

My best film is always my next film. I couldn't make Chungking Express now, because of the way I live and drink I've forgotten how I did it. I don't believe in film school or film theory. Just try and get in there and make the bloody film, do good work and be with people you love.

I think the point of cinematography, of what we do, is intimacy. Is intent, is the balance between the familiar and the dream, it is being subjective and objective, it is being engaged and yet standing back and noticing something that perhaps other people didn’t notice before, or celebrating something that you feel is beautiful or valid, or true or engaging in some way.

As we've seen the rise of cultural, environmental and educational tourism in adventure travel, we've also seen the rise of female participation. Part of that is due to changes in women's attitudes about their own abilities. As more women participate in such things as fly-fishing, whitewater kayaking and bicycling, we're also seeing concurrent growth in those areas in adventure travel.

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