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.

The audience seems hazy to me, shrouded in a veil through which I can't see.

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.

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.

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

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 actually pay careful attention to that sort of thing - infusing humor into my films - because that's how important I think humor is.