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So it helped me to just let go of all my tensions and feelings about that world and say 'OK, this is for my fans in Japan. They'll be nice and get into it and have fun.' And it was the first record I made at my home studio.

I couldn't speak Japanese very well, passport regulations were changing, I felt British, and my future was in Britain. And it would also make me eligible for literary awards. But I still think I'm regarded as one of their own in Japan.

I feel responsible to make something original as a Japanese artist. There are lots of singers and guitarists, but I feel that on stage it's meaningless to copy something someone has done before.

Although I still have a long way to go, I would like to become the pride of Asia. When another Asian artist enters the U.S. market, I would like him to think, 'There was an artist called Rain who succeeded in the U.S. market.' This is my dream.

I really didn't intend to be a musician when I left Japan.

I started my career as a singer in Japan, but left it all behind to focus on my dancing career.

My fake Japanese was smooth enough to earn me the title of 'The Emperor of Pleasing Graciousness' in that country.

In Japan, I am famous in certain special circles - mainly as someone who is trying to break down and enlighten the conventions of Japanese art.

When you're a model, you learn how to make the most of your assets - in my case, the smallish behind that is the legacy of my half-Japanese heritage.

I was excited to play Lil' Kim and I wanted to do the role justice. I worked really hard on that role, whether it was performing the rhymes, studying the dialect, her swagger and her stage performances. I wanted people to see my range and stretch my wings as an actress.