The former police chief of Houston once said of me: "Frank Abagnale could write a check on toilet paper, drawn on the Confederate States Treasury, sign it 'U.R. Hooked' and cash it at any bank in town, using a Hong Kong driver's license for identification."
For Fleur de Chine, I imagined the romantic and mysterious women from Asia's cinematic past-from the '30s femme fatale in a cheongsam and dark lipstick, to the'60s Hong Kong heroine of In the Mood for Love. I wanted to capture that fascinating, exquisite and slightly scandalous femininity.
Even during the promotion I told people that I didn't like Rush Hour. The jokes I didn't understand and the fighting, compared to my Hong Kong films was terrible. A lot of people didn't like it. But mostly people did like it, they really liked it. Rush Hour really brought me to the American family audience.
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