I tend not to use the humor which would only apply to Koreans, or which would only affect the Koreans, as much as I can.

Some audiences might find homosexuality an uncomfortable subject matter, and a character who is a Japanese collaborator is always uncomfortable.

I've read all of Sarah Waters's novels which have been translated into Korean.

Certainly, it includes that. I want the story to be interpreted in as many ways as possible, and of course, the bad blood aspect of it included. For instance, perhaps this is a story not about the hereditary nature of evil, but rather you could interpret it from a different perspective, too.

I guess I probably make violent films partly because I can't express my anger in my real life very well.

I have always meticulously storyboarded my films from beginning to end.

I've grown up watching a lot of Western genre films on TV, and America is not just a country, but it's one of the most important countries in the world, and examining the process of how this nation came to be, it's an important thing, even for outsiders.