How did you come to shoot documentaries on Zhang? My studio started filming Zhang about seven years ago. At that time we were told to record film trailers. Then in 2001, Zhang starting working on Hero and wanted to have some record of his team making the film. He let us follow the whole process and agreed to let us do it in a documentary form. What is the difference between the two documentaries on Zhang's newest films? They are the first on the mainland to document the filmmaking process. The first one is 21/2 hours long and is called The Cause. The name came from something Zhang said about Hero being the cause of a lot of people coming together. The second one is three hours long and is called Like Flowers, based on the idea that a film is born like a flower. The second one is much cooler, because there was more pressure and more accidents during its production. What interests you about documentaries? My major at the Beijing Film Academy was photography. But I prefer making documentaries and can do it to my heart's content. I am more interested in the process, not the final result. Photography is only about the final result, and I like to focus on the details of a process, like people's lives or the way they communicate. What is your ideal documentary? I want to make a documentary with a 'current' flowing beneath it. It would not need to have impressive scenes but would be able to move people. I quite admire the Polish director, Krzysztof Kieslowski. Is it hard to shoot documentaries on the mainland? Not really, although I admit many people still don't know much about documentaries. People, even just on the street, easily accept it when I move towards them with a video camera. What's the biggest problem you have had filming? Sometimes I cannot separate being a spectator and being a participant. For example, I have been filming a Japanese woman for five years and we have become close friends. When she needed to make decisions, she would consult me ... If I told her what I thought, I would probably change her life.