[In response to the offense at the controversial casting in Memoirs of a Geisha] A director is only interested in casting someone he believes is appropriate for a role. For instance, my character had to go from age 15 to 35; she had to be able to dance, and she had to be able to act, so he needed someone who could do all that. I also think that regardless of whether someone is Japanese or Chinese or Korean, we all would have had to learn what it is to be a geisha, because almost nobody today knows what that means, not even the Japanese actors on the film. Geisha was not meant to be a documentary. I remember seeing in the Chinese newspaper a piece that said we had only spent six weeks to learn everything and that that was not respectful toward the culture. It's like saying that if you're playing a mugger, you have to rob a certain number of people. To my mind, what this issue is all about, though, is the intense historical problems between China and Japan. The whole subject is a land mine. Maybe one of the reasons people made such a fuss about Geisha was that they were looking for a way to vent their anger.

It was my publicist's idea.... Either way, I'm still me, right? -- on changing the order of her name from the Chinese-style "Zhang Ziyi" to the Western-style "Ziyi Zhang", 2004

Working in Hollywood, it's clear the more money you have, the more technology you can get. So you can build a whole Japanese set. Only in Hollywood! I couldn't believe the first day I walked on the set. Rob Marshall walked me like a tourist round the set. It took 40 minutes, so how big was that? Today, it can be winter and tomorrow, summer. Everything's unbelievable.

I don't like kick-ass stereotypical roles. I already turn a lot down, even when they promise me a lot of money. I really want to do something in Europe. With a small movie, it can be an interesting challenge. But I have to get the right project. I don't think it's so important to go to Hollywood. All that trash that comes out of there! I don't want to do that.

But I enjoy being an actress a lot, because I can feel different women's lives. I have the chance to feel like a geisha one day, and on another day maybe a scientist. That's the interesting part for me. My profession has helped me to grow up.

I always think it's really hard if you are Asian or Chinese to be really in Hollywood. There are not so many really great characters for you. I always think you are lucky to get offered [something like] Memoirs of a Geisha (2005), but I don't think it will happen all the time.

Even though I've done Hollywood films, I still don't think of myself as a Hollywood actress.

I've discovered that I value simplicity above all in dressing. I don't like anything I wear to be too complicated or fussy.

Chinese women are much more modest than American women when it comes to clothes. We tend to show less flesh.

For Western women, it's much easier to be yourself. If you want to do something, you just go and do it. In an Asian context, women are still much more modest and conservative. I want, through my roles, to express the parts in the hearts of Chinese women that they feel unable to let out.

It was so hard working for him, but I like the challenge. We don't learn the script, every day we had to, erm ... improvise. [on working with Wong Kar-wai in '2046']

It's my first time in a lead and I have to speak English! In a Japanese accent! [on Memoirs of a Geisha (2005)].

You know, I never think I can become an actress. But it happened. Not because I dreamed it, but because it happened.

After Crouching Tiger (Wo hu cang long (2000)), there was a big change for me, with all the attention thrust upon me. I got lot of work: my first Hollywood film, Rush Hour 2 (2001), and a lot of advertisements in Asia. I think for me it's a very good part of my life. I've been lucky, because I've had great characters to play. Now I really want to work with good directors.

In China, we don't consider someone truly beautiful until we have known them for a long time, and we know what's underneath the skin.