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.

I love Philip Glass' work, not only as a film composer but also as a musician. The film score work that he does always amazes and shocks me.

Whenever I visit a city, I like to see what classical music concerts are on offer.

There's a humble beauty about listening to period instruments that I like.

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.

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.

In my opinion, all relationships between people have some sort of violence, and it is central.