Andrew Haigh Quotes

Even if Pearl S. Buck hadn't spent most of her life in China, she'd have every right to write about it.

I should like to say that I am as proud of my Chinese heritage and background as I am devoted to modern science, a part of human civilization of Western origin, to which I have dedicated and I shall continue to dedicate my work.

The basic principle I have is that what is most Korean is what is the most international. I don't want to come here and act like I'm an American. I want to showcase the dynamic potential Korea has, and I want to prove that as an artist.

I don't have doctrinaire views about how we should relate to Asia. But novelists reflect the world they live in, and that world propels you, to some extent. I'm a creature of the British Empire, and of the period of transition from the Empire.

Yoga is not Indian; it does not belong to India.

I'm conscious of the fact that I'm sort of a bridging figure. I have my Chinese literary heritage and cultural background, so I'm comfortable with these things, but at the same time, I have to navigate the Anglo-American tradition, which has a self-centred view of what Asia and what being Chinese means.

I didn't see myself in Jia Jhangke or Wong Kar-Wai films. Those are Asian filmmakers, and I very much am an American filmmaker.

Australia is so influenced by America. It's kind of in-between the U.K. and the States.

When I've seen my operas in Europe, they have always struck me as more American than when I hear them here. I can't tell you what that phenomenon is.

I'm born and raised in Mexico. I only spent eight months in the States, but definitely English is a really big part of my life, and I love it. Thank God my mom put me in American school because I'm able to be working in the States, and it opens a lot more doors being half and not being only one. It's cool because I get to turn it on and off.

My writing has been shaped by the three countries - Sri Lanka, the Philippines and England - I have lived in.

I wanted to write a story about colonization and about Hawaii. I went to college right at the height of identity politics, and that's how I always read 'The Tempest,' for example.

I don't really go around feeling very Irish at all. I don't go to Irish pubs. I've lived so many places, and I'm still so curious about the bigger world. It's grand to be alive in a time when mobility is so accessible.

I would not call my family 'traditional Chinese.' We were more what I would term the Colonial Chinese.

The immigrant experience in 'Ilustrado' was only a small part of what I intended to be a broader look at the Filipino experience, even if that broader look was itself merely a specific perspective.

The box office has become global. I think that factors in to the question of how to portray different ethnicities and cultures.

I can't see America any other way than with a European's eyes. It fascinates me and terrifies me at the same time.

I was born in Lebanon and emigrated to the U.S. and went back. I'd been raised in a French school in Beirut. Lebanon is a peculiar place, so bicultural it goes along with you. There is a Western influence, an Eastern influence. Most people are fluctuating between those identities.

It's because we are so flooded with American culture that we're startled when we see ourselves up there on the screen.

I think that Mexican-American kids live in a global world. It's not even bi-, it's multi-. You know, for those of us who grew up with different countries on our block, different nationalities, you know, we moved into multiple worlds.

In Geneva, I was seen as an outsider. In the U.S., I was considered Eurotrash. And in London, I'm seen as an American.

I have been influenced in my thinking by both west and east.

And why is our music called world music? I think people are being polite. What they want to say is that it's third world music. Like they use to call us under developed countries, now it has changed to developing countries, it's much more polite.

I don't think you lose culture because you act different cultures.

While we can learn from U.S. models, we certainly can't practice them.