In Korea, I do different kinds of genres. So, like that, I would like to do a lot of good acting films.
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.
Korean cinema is very improvisational, and there is a unique power that stems from this.
Korean films have always been distributed to international audiences as arthouse films.
Lionsgate and Lorenzo di Bonaventura saw my Korean Western-style film, 'The Good, the Bad, the Weird,' and probably felt that I would be right for 'The Last Stand,' which could be classified as a modern Western.
In Korean films there is only really a strong tradition of melodramas.
I hope the entire Korean culture like films can be enjoyed by many others.
I'm not partial to any system, but at the same time, I'm a Korean actor, so I expect to work mainly on Korean projects.
Obviously, I've made several films in Korea, so I'm very well accustomed and acclimated to Korean filmmaking.
I've always been a fan of Korean cinema but never really pursued it, as I wanted to pave my way here in the States. I figured, once I established myself here, Korea might take notice. And it did.
There is something particularly unique about the films of Hong Sang-soo...it's got to do with his masterful sense of storytelling... as the critic Manny Farber once said of Hitchcock's ROPE Hong Sang-soo's pictures unpeel like an orange.
In the mid 1990s the Korean film industry was really open-minded.
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.
