In Korea is what I do is I watch the playback of each take with all of the actors and spend a lot of time discussing each take. Also, I use the process we call auto-assembly because I storyboard my entire film right at the beginning, even before pre-production ever begins, so my vision is already laid out on the storyboard for everybody to share. It enables the on-set assembly person, as we call them, to cut together each take into a sequence. This enables a director to review the take within the context of the sequence of the scene.

In my creative films, if there was something, some humorous moment that is lost to a non-Korean speaking audience, I'll be very sad.

I am not going to do a film based on a bad scenario just to make a big Hollywood film or work with Hollywood stars.

In Korea is what I do is I watch the playback of each take with all of the actors and spend a lot of time discussing each take. Also, I use the process we call auto-assembly because I storyboard my entire film right at the beginning, even before pre-production ever begins, so my vision is already laid out on the storyboard for everybody to share. It enables the on-set assembly person, as we call them, to cut together each take into a sequence. This enables a director to review the take within the context of the sequence of the scene.

The reason why I always wanted to make an American film was because of the Western genre. It is something that I would very much like to make in the future, because it's very uniquely American, and I can't make a Western film in Korean.

Ever since I arrived in America to promote Stoker, I haven't had time to go and see it in a theater. The fact that I had to shoot twice as fast as I'm used to in Korea was the most challenging thing about my Hollywood experience.

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