Chow Mo Wan: When you don't take "no" for an answer, there is still a chance you'll get what you want.
　　Chow Mo Wan: I have a secret to tell you. Will you leave with me?
　　Chow Mo Wan: Whenever someone asked why I left 2046, I always gave them some vague answer. It was easier.
　　Chow Mo Wan: I once fell in love with someone. I couldn't stop wondering if she loved me back. I found an android which looked just like her. I hoped she would give me the answer.
　　Chow Mo Wan: He didn't turn back. It's as if he boarded a very long train headed for a drowsy future through the unfathomable night.
　　Chow Mo Wan: Everyone who goes to 2046 has the same intention, they want to recapture lost memories. Because in 2046 nothing ever changes. But, nobody knows if that is true or not because no-one has ever come back.
　　Chow Mo Wan: Take care. Maybe one day you'll escape your past. If you do, look for me.
　　Chow Mo Wan: As I recall, that's the very last time we saw each other.
　　Chow Mo Wan: In love you can't bring on a substitute.
　　Chow Mo Wan: When the Peony blooms, she stands tall. Does she mean no or yes?
　　Bai Ling: Why can't it be like it was before?
　　Chow Mo Wan: Do you remember you asked me if there was anything I wouldn't lend? I've given it a lot of thought and now I know there is one thing I'll never lend to anyone.
　　Chow Mo Wan: Love is all a matter of timing.
　　Chow Mo Wan: Love is all a matter of timing.
　　Chow Mo Wan: It's no good meeting the right person too soon or too late.
　　Chow Mo Wan: If I'd live in another time or place...
　　Chow Mo Wan: 39 ...my story might have had a very different ending.
　　f19 Chow Mo Wan: I slowly began to doubt myself.
　　Chow Mo Wan: Maybe the reason she didn't answer was not that her reactions were delayed but simply that she didn't love me.
　　Chow Mo Wan: So at last, I got it. It's entirely beyond my control.
　　Chow Mo Wan: The only thing left for me... was to give up.

　　Chow Mo Wan: When you don't take "no" for an answer, there is still a chance you'll get what you want. 只要你自己不放弃，你永远都有机会。
　　Chow Mo Wan: I have a secret to tell you. Will you leave with me? 我哟个秘密想告诉你,跟我一起走?
　　Chow Mo Wan: Whenever someone asked why I left 2046, I always gave them some vague answer. It was easier. 每次有人问我为什么离开2046,我总是含糊其辞.
　　Chow Mo Wan: I once fell in love with someone. I couldn't stop wondering if she loved me back. I found an android which looked just like her. I hoped she would give me the answer. 我曾经爱上一个人，我想知道她到底喜不喜欢我。我发现这个机器人很像她，我开始尝试在她身上寻找答案。
　　Chow Mo Wan: He didn't turn back. It's as if he boarded a very long train headed for a drowsy future through the unfathomable night. 他一直没有回头，他仿佛坐上一串很长很长的列车，在茫茫夜色中开往朦胧的未来。
　　Chow Mo Wan: Everyone who goes to 2046 has the same intention, they want to recapture lost memories. Because in 2046 nothing ever changes. But, nobody knows if that is true or not because no-one has ever come back. 每个人去2046,他们的目的只有一个，那就是找回失去的记忆，因为在2046一切都不改变。没有人知道这是不是真的,因为去过的人没有一个回来过.
　　Chow Mo Wan: Take care. Maybe one day you'll escape your past. If you do, look for me. 如果有一天你可以忘掉过去，记得来找我。
　　Chow Mo Wan: As I recall, that's the very last time we saw each other. 在我的记忆里,那是我们最后一次见面
　　Chow Mo Wan: In love you can't bring on a substitute. 爱情是没有替代品的
　　Chow Mo Wan: When the Peony blooms, she stands tall. Does she mean no or yes? 一若牡丹盛开，她站起身，走了，留下既非“是”又非“非”的答案。 (呵呵,翻译真是不好翻,中文里好有意境但翻译成英文,可就丧失了很多魅力,尤其这句)

　　Bai Ling: Why can't it be like it was before? 为什么我们不能象以前那样
　　Chow Mo Wan: Do you remember you asked me if there was anything I wouldn't lend? I've given it a lot of thought and now I know there is one thing I'll never lend to anyone. 你记不记得你曾经问过我,有什么东西我不借.现在我才知道,远来有些东西我永远不会借给别人
　　Chow Mo Wan: Love is all a matter of timing.
　　Chow Mo Wan: Love is all a matter of timing.爱情是有时间性的
　　Chow Mo Wan: It's no good meeting the right person too soon or too late. 遇见的太早或太晚都不行
　　Chow Mo Wan: If I'd live in another time or place... 如过我能在另一和时间和空见先认识她
　　Chow Mo Wan: 39 ...my story might have had a very different ending. 这个故事的结局可能就不一样
　　f19 Chow Mo Wan: I slowly began to doubt myself. 我开始怀疑自己
　　Chow Mo Wan: Maybe the reason she didn't answer was not that her reactions were delayed but simply that she didn't love me. 她对你没有反应未必是因为它反映迟钝，也许是因为她对你没有感觉
　　Chow Mo Wan: So at last, I got it. It's entirely beyond my control. 到最后终于明白，有些事情不能勉强，
　　Chow Mo Wan: The only thing left for me... was to give up. 而我可以做的就是放弃。

　　=======================================================

　　这不是我翻的啊！你要是觉得行就拿着！

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　　我是第一个回答你，只是修改了几句，就变成第2了
王家卫经典台词
阿飞正传》
我听别人说这世界上有一种鸟是没有脚的，它只能够一直的飞呀飞呀，
飞累了就在风里面睡觉，这种鸟一辈子只能下地一次，那一次就是它死亡的时候。
一九六零年四月十六号下午三点之前的一分钟你和我在一起，因为你我会记住这一分钟。
从现在开始我们就是一分钟的朋友，这是事实，你改变不了，因为已经过去了。
我不知道他有没有因为我而记住那一分钟，但我一直都记住这个人。
我终于来到亲生母亲的家了，但是她不肯见我，佣人说她已经不住这里了。
当我离开这房子的时候，我知道身后有一双眼睛盯着我，但我是一定不会回头的。
我只不过想见见她，看看她的样子，既然她不给我机会，我也一定不会给她机会。
以前我以为有一种鸟一开始飞就会， 飞到死亡的那一天才落地。
其实它什么地方也没去过，那鸟一开始就已经死了。
我曾经说过不到最后一刻我也不会知道最喜欢的女人是谁，不知道她现在在干什么呢？
天开始亮了，今天的天气看上去不错，不知道今天的日落会是怎么样的呢？
《东邪西毒》
很多年之后,我有个绰号叫做西毒,任何人都可以变得狠毒,只要你尝试过甚么叫忌炉,
我不会介意他人怎样看我,我只不过不想别人比我更开心。
看来你的年纪也有四十出头了，这四十多年来，总有些事你是不愿再提，或是有些人你不想再见，有的人曾经对不起你，也许你想过要杀了他们，但是你不敢。哈，又或者你觉得不值，其实杀人，很容易。我有个朋友，他的武功非常好，不过最近生活有点困难，只要你随便给他一点银两，他一定可以帮你杀了那个人，你尽管考虑一下。其实杀一个不是很容易，不过为了生活,很多人都会冒这个险。
我只希望他说一句话，他都不肯说，他太自信了，以为我一定会嫁给他，谁知道我嫁给了他哥哥。在我们结婚那天，他要我跟他走，我没答应。
为什么要到失去的时候才去争取？既然是这样，我不会让他得到。
以前我认为那句话很重要，因为我觉得有些话说出来就是一生一世，现在想一想，
说不说也没有什么分别，有些事会变的。
我一直以为是我自己赢了，直到有一天看着镜子，才知道自己输了，在我最美好的时候，我最喜欢的人都不在我身边。如果能重新开始那该多好啊！
我是孤星入命的人,从小父母早死,只好跟着哥哥相依为命,从小我就懂得保护自己,我知道要想不被人拒绝,最好的方法是先拒绝别人,
其实"醉生梦死"只不过是她跟我开的一个玩笑，你越想知道自己是不是忘记的时候，你反而记得清楚。我曾经听人说过，当你不能够再拥有，你唯一可以做的，就是令自己不要忘记。
《重庆森林》
每天你都有机会和很多人擦身而过，而你或者对他们一无所知，不过也许有一天他会变成你的朋友或是知己.
不知道从什么时候开始，在什么东西上面都有个日期，秋刀鱼会过期，肉罐头会过期，连保鲜纸都会过期，我开始怀疑，在这个世界上，还有什么东西是不会过期的？
在1994年的5月1号，有一个女人跟我讲了一声“生日快乐”，因为这一句话，我会一直记住这个女人。如果记忆是一个罐头的话，我希望这一个罐头不会过期；如果一定要加一个日子的话，我希望是“一万年”。
《堕落天使》
我听人讲过，任何东西都会过期的。
我不知她和JOHNNY的感情什么时候过期，不过我想，应该很快吧。
我一直以为她和JOHNNY的感情会很快过期，可是谁知道，最快过期的，竟然是我。
那天晚上，睡到半夜，我发现老爸在偷看那盘录影带，他看得很开心，一边看一边笑，虽然我对很多东西都很粗心，不过我很清楚得记得，那天是老爸六十岁生日。也不知他笑什么，不过我知道他很开心。
每天，你都会和许多人擦肩而过，他们可能会成为你的朋友或是知己。所以我从来没有放弃和任何人擦肩而过的机会。有时候搞得自己头破血流，管他呢！开心就行了。
走的时候，我叫他送我回家。我已经很久没有坐过摩托车了，也很久未试过这么接近一个人了，虽然我知道这条路不是很远。我知道不久我就会下车。可是，这一分钟，我觉得好暖。
《春光乍泄》
何宝荣将“不如重新开始”挂在口边，这话对我很有杀伤力，
我和他一起很久了，中间也分开过，可每次听见他这么说，我总会跟他再走在一起。
有些事情我一直没告诉何宝荣，我并不希望他太快复原，他受伤的日子是我和他最开心的。
一直以为我跟何宝荣不一样，原来寂寞的时候，所有的人都一样。
离开香港前，我从公司拿走一笔钱，父亲介绍的工作，老板跟他是手足。
在阿根廷，我一直在工作，我好想有日将钱还人家，亦好想跟父亲说声对不起。
十二月的阿根廷好热。那日我放假，想着写张圣诞咔给父亲，不料越写越长，在香港我怕跟他讲话，原来有些事我好渴望他知道。我不晓得他读信后会怎么想。我跟他说，希望他给我机会从头开始。
我终于来到瀑布，我突然想起何宝荣，我觉得好难过，我始终认为站在这儿的应该是一对。
在返香港之前我在台北住了一个晚上，我到了辽宁街，夜市很热闹，我没见着小张，只看见他家人，我终于明白他可以开开心心在外边走来走去的原因，他知道自己有处地方让他回去。

给些用语比较简单的英文文章你，基本金山快译就能搞定的，一下子就自动翻译好且失真度不高。
Born in Shanghai, he moved to Hong Kong with his parents at the age of five. Coming from the Mainland and speaking only Mandarin and Shanghainese, he had a difficult period of adjustment to Cantonese speaking Hong Kong, spending hours in movie theatres with his mother. After graduating from Hong Kong Polytechnic College in graphic design in 1980, he enrolled in the Production Training Course organized by Hong Kong Television Broadcasts Limited (TVB) and became a full-time television screenwriter. In the mid-1980s, he became a screenwriter/director at The Wing Scope Co. and In-gear Film Production Company, the production houses owned by renowned Hong Kong actor /movie producer Alan Tang. Wong's current nostalgic artsy style took shape during his apprenticeship with Alan Tang Kwong-Wing, who invested in the first movie Wong directed, "As Tears Go By" (1988). Wong's career took off when he directed the film "Days of Being Wild" (1990), despite losing Alan Tang millions of invested dollars. Wong subsequently graduated to feature film work. He is credited with about ten scripts between 1982 and 1987, covering an array of genres from romantic comedy to action drama, but claims to have worked to some extent or another on about fifty more without official credit. He considers Final Victory (最后胜利, 1986), a dark comedy/crime story for director Patrick Tam, his best script.

Feature films
He made his directing debut in 1988 with As Tears Go By, also produced by Alan Tang. A crime melodrama of the kind then hugely popular, it heavily borrowed from Martin Scorsese's Mean Streets (1974), but already displayed one of Wong's principal trademarks in its atmospheric and sometimes expressionistic color palette. It is his only box office hit to date.

His next film, Days of Being Wild (1991), produced by Alan Tang, a drama about aimless youth set in the early 1960s, established his trademark form: elliptically plotted mood pieces, with lush visuals and music, about the burden of memory on melancholy, misfit characters. Days was a box office failure but now regularly tops Hong Kong critics' polls of the best local films ever made. It has been described as a sort of Cantonese Rebel Without a Cause.

He also established his own independent production company, called Jet Tone Films Ltd. in English. His partner in the company is Jeffrey Lau, a director and producer who tends to work closer to the populist vein of mainstream Hong Kong film.

Wong went on to direct several more feature films in the 1990s produced by Jet Tone, which allowed him to work at his own pace. Among these were Chungking Express (1994), which follows the lives of two love-struck cops in Hong Kong and the mysterious women they meet and fall in love with. Originally intended to be a distraction piece for him to get his mind off of the heavily delayed Ashes of Time, it ended up being one of his most popular films, if not the most popular. Fallen Angels (1995), was originally intended to be the third act of Chungking Express, but when the tone didn't fit with the other two parts, he cut it out and made it a standalone movie instead; it is seen as a semi-sequel to Chungking Express as is a neo-noir film about on a disillusioned killer trying to overcome the affections of his partner, a strange drifter looking for her ex-boyfriend, and a mute trying to get the world's attention in his own ways, all set against a sordid and surreal urban nightscape.

Wong's fourth movie, Ashes of Time (1994), released between Chungking Express and Fallen Angels, applied his approach to a star-studded wuxia (martial arts swordplay) story; the desert shoot in Mainland China dragged on for over a year and resulted in one of contemporary Hong Kong cinema's most notorious commercial disasters.

His first major international recognition was at the 1997 Cannes Film Festival where he won the Best Director prize for Happy Together (1997). A film that "uses gorgeous, saturated images set to an eclectic soundtrack of tango by Argentinian maestro Astor Piazolla, Brazilian singer Caetano Veloso and Frank Zappa instrumentals to chronicle the stormy affair of a gay couple living as expatriates in Buenos Aires."

Despite his background as a screenwriter, one of Wong's trademarks as a director is that he works largely through improvisation and experimentation involving the actors and crew rather than adhering to a fixed screenplay. This has been a frequent source of trouble for his actors, his financial backers and many other people connected with his films, including sometimes himself.

The filming of In the Mood for Love (2000) had to be shifted from Beijing to Macau after the China Film Bureau demanded to see the completed script. This was all in all a minor setback in the "very complicated evolution" of the project which goes as far back as 1997. It was Wong's intention to make two films, one of which would be titled Beijing Summer, the plot unclear at the time, but eventually taking form in Macau. Here Wong planned to call it Three Stories About Food, but saw it better to settle for only one story, A Story About Food, that centers on a writer. Together with scenes shot in Bangkok and Angkor Wat, the filming took as long as 15 months. This was an especially arduous time for lead actress Maggie Cheung whose hair and makeup reportedly took a daily five hours, and who appeared in a different cheongsam in each scene. She famously compared the lengthy shoot to a cold she couldn't get rid of. Working without deadlines, the film's upcoming premier at Cannes nonetheless put some pressure on Wong to finish editing. Intending to name the film Secrets he was dissuaded by Cannes, and finally named it In the Mood for Love after Bryan Ferry's cover of the song "I'm in the Mood for Love" he was listening to.

Wong's 2046 (2004), a film about capturing lost memories, was the third chapter of a shared story that began with Days of Being Wild and continued with In the Mood for Love. Infamous for long drawn out shoots without any real regards to deadlines, a running joke amongst the crew was that he would finish in the year 2046.

In 2006, he became the first Chinese director to preside the jury at the Cannes Film Festival.

Wong Kar-wai's first full English-language film, My Blueberry Nights, opened the 2007 Cannes Film Festival as one of 22 films in competition. The lead, American singer-songwriter Norah Jones, made her acting debut in the film.

Wong Kar-wai was the jury president of the 2008 Shanghai International Film Festival which was held from June 14-22, 2008.

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　　http://baike.baidu.com/view/19227.htm

再看看别人怎么说的。