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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.

Korean cinema is very improvisational, and there is a unique power that stems from this.

In Korea, I do different kinds of genres. So, like that, I would like to do a lot of good acting films.

My career in the movie business began in Hong Kong, my heart has always been tied to Asia, and it is immensely gratifying to see international recognition for Asian cinema as a whole.

In the mid 1990s the Korean film industry was really open-minded.

A lot of people are very interested that a Korean director has made a western. But when I look at the reactions of the audience, I realise the points at which people laugh are the same for a Korean audience and an international audience.

Actors, I think, are all the same. Both Korean actors and American actors are all very sensitive people, and they are all curious to know what the director thinks of them and how they are evaluated, and they try to satisfy the director. And they like it if you listen carefully to their opinions and accept them.

I make American films for American audiences and Asian films for Asian audiences.

But, I've made films in Japan, in Yugoslavia, all over Europe, all over the United States, Mexico, but not Hollywood.