Courtesy of the Teegarden/Nash collection

Having enchanted us for a decade with a string of lyrical, exquisitely-crafted domestic dramas, including Sense and Sensibility, Eat Drink Man Woman and The Ice Storm, Ang Lee is one international director who has certainly found success with American audiences. With his latest feature, Crouching Tiger, Hidden Dragon, Ang Lee has conquered a whole new genre: the martial arts film. Here, Ang Lee talks with MovieMaker about realizing a boyhood dream, working with legendary fight choreographer Yuen Wo-Ping and how classical Chinese culture and Kung Fu add up to two hours of shameless fun.

MovieMaker: In the past, you've taken to drama as your preferred genre. What made you decide to take on a martial arts film?

Ang Lee: It was a boyhood dream that actually came true with the help of (famed fight choreographer) Mr. Yuen Wo-Ping. I've admired him since I was young, even before I became a film student. I had many fantasies about doing this genre. For me this was about pursuing my dream of China, and the book provided textures of the ancient Chinese society I like. The biggest thing I learned from Yuen Wo-Ping is that martial arts films have very little to do with martial arts. It's cinema, it's expression, it's what looks good on screen, how to work out the shots, what's the best angle, what's the best way for the characters to present themselves to the audience. To me that was a great inspiration and I used it as a tool for drama.

MM: Do you think that your work on Ride With The Devil better prepared you to take on a film so heavily laced with action sequences?

AL: Yes.The skill is very different; westerns are a lot easier for the complexity of the choreography and setting up cameras compared to shooting sword fights. I think it was a good warm-up for me. Technically, I learned what to expect in action sequences, [and to think of] safety issues, of course. These scenes are dangerous to do and you're risking somebody's life to get the audience excited according to your fantasy.

MM: How were those dramatic elements scripted into the fight sequences?

AL: They're not in the script. That's an on-set kind of thing. The script almost had no written action sequences, just a few lines. James had a little paragraph at the beginning explaining that the fighting scenes were underwritten with the guarantee that 'Ang would produce the most exciting scenes ever done,' but I had no idea what to do yet. So it was really on set through the collaboration with the choreographer that we started trying ideas to see what was possible.

MM: What are some of the innovations that you believe you were able to bring to the genre?

AL: The innovative part is adding acting to the action. What is not often done in martial arts film is to bring drama and acting into it, which may be dangerous for the actors and break their concentration. The real feeling of combat was essential for this movie. The fight scene on top of the trees is something I feel proud of. With the weaponry, the sound was amazing. In Chinese films, they don't care about the sound. But we mixed for weeks and weeks, and I paid personal attention to it. Each sound you hear we built with a combination of six other sounds. Female fighters in a pretty much male-dominant genre are rare.

MM: For the most part, martial arts movies are considered 'B' movies. Do you think that, after seeing Crouching Tiger, Hidden Dragon, this perception may somehow be changed?

AL: For as long as I can remember, martial arts was the main genre in Chinese cinema. I have learned from, working on [this movie], that after all the fighting scenes-which are very elaborate and time-consuming-you [only] have 20 percent of the money, energy and time left for the rest. They have been labeled as sort of 'B' movies, but I think it's a great cinematic tool to use to externalize whatever you wish; to use poetry, drama, what have you. It should be a common effort from all filmmakers to bring more dignity to the genre.