"The reason why the films are important is that they are a mark of modern society. What film art means to human society is what religion means to its followers. They spread, like a storm, to all the world the happiness in life and hopes in grief. Their believers are mad and massive. Their audiences see themselves in the lights and shadows not created by God. The only difference between the two is that the films have a secular face.

"Despite going through 100 years, Chinese films have not formed their own academic groups, and few of the older generation could be held up as gurus. Moreover, it has to look into the future for the appearance of film masters, if, say, these masters can keep their creativity and guide the public spirit.

"But I'm still confident about Chinese films, because anything beloved by all won't die."

Zhang Yimou

Director, cinematographer, born in 1951

Cinematographer: One and Eight; Yellow Earth

Selected filmography: Red Sorghum (Golden Bear Prize for best picture at the 1988 Berlin Film Festival); Ju Dou; Raise the Red Lantern; The Story of Qiu Ju (Golden Lion Prize for best picture at the 1992 Venice Film Festival); To Live (Best Actor and Jury Grand Prix at the 1994 Cannes Film Festival); Keep Cool; Not One Less (Golden Lion Prize for best picture at the 1999 Venice Film Festival); Hero

"Audiences are hard to please as their tastes change all the time. So the films have to renew themselves from time to time. We don't know how long it's gonna take. What has taken place in the films of Japan, Europe, Taiwan and Hong Kong could happen to us. We can't step on a completely different road.

"I still hold that the films should appeal to both refined and popular tastes. As the film art starts from variety shows, it is destined to be popular. Sometimes I wonder what if nobody comes to my film. I think it is highly possible and very normal if it really takes place. People get old. So whatever will be will be. I would just try to keep my creativity and reduce the possibility of failure as much as possible. Now I have achieved certain box-office success. Why shouldn't I put this success to my use and try something bold and new? That is an important reason why I shoot films of different styles. We can make changes no matter in language or in form."

Jiang Wen

Actor, director, born in 1963

Selected filmography: Hibiscus Town (Best Actor at the 1987 Flower Awards in China); Red Sorghum; The Last Eunuch; In the Heat of Sun (director); Devils on the Doorstep (director, Jury Grand Prix at the 2000 Cannes Film Festival)

"The old saying still rings true: the future is promising and road twisting. The market never says no to good movies. Good movies are like vintage wine, so I won't shoot 'soft drinks.' China needs more professional filmmakers, no matter producers or directors. The more professional they are, the more excellent movies there will be. In my eyes, directors and actors should devote themselves to movies and roles. From the first movie, The Last Empress, that I joined in, I have done what a professional actor should do. I put forward my suggestions. But I don't think I steal the show of the movie, or the ideas of directors."