"I could watch the work of Wong Kar-wai (and the brilliant cinematographer Christopher Doyle) all day long. I don’t have to understand what’s going on . . . I don’t care. Beautiful people, photographed beautifully. His films are the best, most romantic out there."

"This film about intimacy and longing was the first movie I saw by Wong Kar-wai. He has found a way to draw you into the personal lives of strangers and wrap you in their secrecy. The visual style and sense of color still intrigue me."

"A visual genius working at the height of his powers. For emotional heft, this film can’t compete with Wong Kar Wai’s heartbreaking In the Mood for Love, but just try keeping The Grandmaster’s gorgeous imagery from being seared into your brain. The cinematography and choreography are exquisite. They’re just poetry. I was absolutely transfixed watching this film during the early stages of Kubo’s production cycle. After I picked my jaw off the floor I completely reconsidered all of Kubo’s action scenes. We had to step up our game. Wong Kar Wai had raised the bar to soaring, impossible new heights. The terrific filmmaker Zhang Yimou — who himself made two flawless action epics (Hero and House of Flying Daggers) — once said that every boy wants either a train set or to make a martial arts movie. I never had a train set. After seeing The Grandmaster, I have a feeling Wong Kar Wai didn’t either."

"Intense soundtracks can feel intrusive and distracting, but these feel like perfect uses of (nice ‘n’ loud!) familiar songs in film. I’m so moved to happiness by the way the characters’ boiling-over thoughts, hopes, and dreams seem to be broadcast out of their internal lives and into this remarkable world created by Wong Kar-wai."

"The Wong Kar-wai movie. If you haven’t seen it, you must. It’s beautiful, and romantic, and sexy, and impossibly romantic — did I mention? The imagery and the lighting is gorgeous. It’s a DP’s [director of photography] dream. I think I’m a sucker for images. I don’t really need the words as much as I just want beautiful pictures of places I’ve never been and things I’ve never seen."

"Wong Kar-Wai is one of my favorite directors from Asia. I’m a natural romantic. I feel like his movies — slow motion, the momentum of people, even a clock running — are non-traditional filmmaking. Normal movies [have scenes set up] like, I talk to you; you talk to me. Those kinds of movies are boring to me, but his films are advanced. He’s also extremely private and personal. His stories are all about innocent love, sort of like teenage love. How people need; how you love. They’re very, very romantic. When I talk about it, I feel this slow motion romance, high heels, the mystery of women, sexy, walking by. I recognize things in my soul that are unspoken; a lot of those longings, and unfulfilled romances, and dreams within [Wong Kar-Wai’s] films — they make me feel that."

"This seems to me one of the most delicately melancholy and yet vibrantly beautiful films I’ve ever seen. It’s heartbreaking and infuriating, convoluted and yet transparent. The color, fabrics, and décor make me wish I could relocate into a world of low, heavy light, constricting clothing, and dank, long halls even at the expense of my own happiness. I also have to bring up my other favorite Wong Kar-wai film Chungking Express. It’s just as beautiful, but slightly more lighthearted."

"My buddy Cruz Angeles first turned me on to the films of Wong Kar-wai in my early years in New York City. In the Mood for Love is just flawless. The performance are restrained and yet so full of deep internal life. A glance, a gesture, carries so much weight. You can say so much with what you don’t say. The performances by Tony Leung and Maggie Cheung are wonderful. And the cinematography, the visual language of the film, is stunning."

"It’s such a beautiful cinematic poem, I suppose. When I did Push in Hong Kong, it was a great pleasure to be able to shoot the film almost in the style of Wong Kar-Wai — just with him in mind, you know. Beautiful light, reds and greens. I actually stayed in one of the apartments in Hong Kong that he designed, which was nice. Lots of wallpaper. As a movie, you’re just so compelled by these two characters, and he only shows glimpses of them, yet they’re so compelling — which is a feat in itself."

"I also love 2046 by Wong Kar Wai, a film which I thought was so beautifully shot, with an incredible story. I love that he uses the location as a character. He has a very romantic way, a very sexy way of presenting everything, and the cinematography in that is absolutely stunning. He obviously has a very strong vision for what he wants to do and how he wants to do it. All of his movies, I think they’re very intimate: They don’t always require huge stages, but he always seems to capture something in a very small area. I like the way he presents things. He creates an atmosphere and you get swept into it right away."