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. 隻要你自己不放棄，你永遠都有機會。
　　Chow Mo Wan: I have a secret to tell you. Will you leave with me? 我喲個秘密想告訴你,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. 每次有人問我為什麼離開2046,我總是含糊其辭.
　　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. 我曾經愛上一個人，我想知道她到底喜不喜歡我。我發現這個機器人很像她，我開始嚐試在她身上尋找答案。
　　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. 他一直沒有回頭，他仿佛坐上一串很長很長的列車，在茫茫夜色中開往朦朧的未來。
　　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. 每個人去2046,他們的目的隻有一個，那就是找回失去的記憶，因為在2046一切都不改變。沒有人知道這是不是真的,因為去過的人沒有一個回來過.
　　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過去，記得來找我。
　　Chow Mo Wan: As I recall, that's the very last time we saw each other. 在我的記憶裏,那是我們最後一次見麵
　　Chow Mo Wan: In love you can't bring on a substitute. 愛情是沒有替代品的
　　Chow Mo Wan: When the Peony blooms, she stands tall. Does she mean no or yes? 一若牡丹盛開，她站起身，走了，留下既非“是”又非“非”的答案。 (嗬嗬,翻譯真是不好翻,中文裏好有意境但翻譯成英文,可就喪失了很多魅力,尤其這句)

　　Bai Ling: Why can't it be like it was before? 為什麼我們不能象以前那樣
　　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. 你記不記得你曾經問過我,有什麼東西我不借.現在我才知道,遠來有些東西我永遠不會借給別人
　　Chow Mo Wan: Love is all a matter of timing.
　　Chow Mo Wan: Love is all a matter of timing.愛情是有時間性的
　　Chow Mo Wan: It's no good meeting the right person too soon or too late. 遇見的太早或太晚都不行
　　Chow Mo Wan: If I'd live in another time or place... 如過我能在另一和時間和空見先認識她
　　Chow Mo Wan: 39 ...my story might have had a very different ending. 這個故事的結局可能就不一樣
　　f19 Chow Mo Wan: I slowly began to doubt myself. 我開始懷疑自己
　　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. 她對你沒有反應未必是因為它反映遲鈍，也許是因為她對你沒有感覺
　　Chow Mo Wan: So at last, I got it. It's entirely beyond my control. 到最後終於明白，有些事情不能勉強，
　　Chow Mo Wan: The only thing left for me... was to give up. 而我可以做的就是放棄。

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

　　這不是我翻的啊！你要是覺得行就拿著！

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　　我是第一個回答你，隻是修改了幾句，就變成第2了
王家衛經典台詞
阿飛正傳》
我聽別人說這世界上有一種鳥是沒有腳的，它隻能夠一直的飛呀飛呀，
飛累了就在風裏麵睡覺，這種鳥一輩子隻能下地一次，那一次就是它死亡的時候。
一九六零年四月十六號下午三點之前的一分鍾你和我在一起，因為你我會記住這一分鍾。
從現在開始我們就是一分鍾的朋友，這是事實，你改變不了，因為已經過去了。
我不知道他有沒有因為我而記住那一分鍾，但我一直都記住這個人。
我終於來到親生母親的家了，但是她不肯見我，傭人說她已經不住這裏了。
當我離開這房子的時候，我知道身後有一雙眼睛盯著我，但我是一定不會回頭的。
我隻不過想見見她，看看她的樣子，既然她不給我機會，我也一定不會給她機會。
以前我以為有一種鳥一開始飛就會， 飛到死亡的那一天才落地。
其實它什麼地方也沒去過，那鳥一開始就已經死了。
我曾經說過不到最後一刻我也不會知道最喜歡的女人是誰，不知道她現在在幹什麼呢？
天開始亮了，今天的天氣看上去不錯，不知道今天的日落會是怎麼樣的呢？
《東邪西毒》
很多年之後,我有個綽號叫做西毒,任何人都可以變得狠毒,隻要你嚐試過甚麼叫忌爐,
我不會介意他人怎樣看我,我隻不過不想別人比我更開心。
看來你的年紀也有四十出頭了，這四十多年來，總有些事你是不願再提，或是有些人你不想再見，有的人曾經對不起你，也許你想過要殺了他們，但是你不敢。哈，又或者你覺得不值，其實殺人，很容易。我有個朋友，他的武功非常好，不過最近生活有點困難，隻要你隨便給他一點銀兩，他一定可以幫你殺了那個人，你盡管考慮一下。其實殺一個不是很容易，不過為了生活,很多人都會冒這個險。
我隻希望他說一句話，他都不肯說，他太自信了，以為我一定會嫁給他，誰知道我嫁給了他哥哥。在我們結婚那天，他要我跟他走，我沒答應。
為什麼要到失去的時候才去爭取？既然是這樣，我不會讓他得到。
以前我認為那句話很重要，因為我覺得有些話說出來就是一生一世，現在想一想，
說不說也沒有什麼分別，有些事會變的。
我一直以為是我自己贏了，直到有一天看著鏡子，才知道自己輸了，在我最美好的時候，我最喜歡的人都不在我身邊。如果能重新開始那該多好啊！
我是孤星入命的人,從小父母早死,隻好跟著哥哥相依為命,從小我就懂得保護自己,我知道要想不被人拒絕,最好的方法是先拒絕別人,
其實"醉生夢死"隻不過是她跟我開的一個玩笑，你越想知道自己是不是忘記的時候，你反而記得清楚。我曾經聽人說過，當你不能夠再擁有，你唯一可以做的，就是令自己不要忘記。
《重慶森林》
每天你都有機會和很多人擦身而過，而你或者對他們一無所知，不過也許有一天他會變成你的朋友或是知己.
不知道從什麼時候開始，在什麼東西上麵都有個日期，秋刀魚會過期，肉罐頭會過期，連保鮮紙都會過期，我開始懷疑，在這個世界上，還有什麼東西是不會過期的？
在1994年的5月1號，有一個女人跟我講了一聲“生日快樂”，因為這一句話，我會一直記住這個女人。如果記憶是一個罐頭的話，我希望這一個罐頭不會過期；如果一定要加一個日子的話，我希望是“一萬年”。
《墮落天使》
我聽人講過，任何東西都會過期的。
我不知她和JOHNNY的感情什麼時候過期，不過我想，應該很快吧。
我一直以為她和JOHNNY的感情會很快過期，可是誰知道，最快過期的，竟然是我。
那天晚上，睡到半夜，我發現老爸在偷看那盤錄影帶，他看得很開心，一邊看一邊笑，雖然我對很多東西都很粗心，不過我很清楚得記得，那天是老爸六十歲生日。也不知他笑什麼，不過我知道他很開心。
每天，你都會和許多人擦肩而過，他們可能會成為你的朋友或是知己。所以我從來沒有放棄和任何人擦肩而過的機會。有時候搞得自己頭破血流，管他呢！開心就行了。
走的時候，我叫他送我回家。我已經很久沒有坐過摩托車了，也很久未試過這麼接近一個人了，雖然我知道這條路不是很遠。我知道不久我就會下車。可是，這一分鍾，我覺得好暖。
《春光乍泄》
何寶榮將“不如重新開始”掛在口邊，這話對我很有殺傷力，
我和他一起很久了，中間也分開過，可每次聽見他這麼說，我總會跟他再走在一起。
有些事情我一直沒告訴何寶榮，我並不希望他太快複原，他受傷的日子是我和他最開心的。
一直以為我跟何寶榮不一樣，原來寂寞的時候，所有的人都一樣。
離開香港前，我從公司拿走一筆錢，父親介紹的工作，老板跟他是手足。
在阿根廷，我一直在工作，我好想有日將錢還人家，亦好想跟父親說聲對不起。
十二月的阿根廷好熱。那日我放假，想著寫張聖誕哢給父親，不料越寫越長，在香港我怕跟他講話，原來有些事我好渴望他知道。我不曉得他讀信後會怎麼想。我跟他說，希望他給我機會從頭開始。
我終於來到瀑布，我突然想起何寶榮，我覺得好難過，我始終認為站在這兒的應該是一對。
在返香港之前我在台北住了一個晚上，我到了遼寧街，夜市很熱鬧，我沒見著小張，隻看見他家人，我終於明白他可以開開心心在外邊走來走去的原因，他知道自己有處地方讓他回去。

給些用語比較簡單的英文文章你，基本金山快譯就能搞定的，一下子就自動翻譯好且失真度不高。
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 (最後勝利, 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

再看看別人怎麼說的。