I think each film should be regarded as its own specific text.

As a director, or just a film fan who wants to enjoy the festival, Cannes is the worst place to be. But it must be a paradise for distributors and importers.

I really hate the creature film convention that says you have to wait until the end to see the monster. One hour and all you've seen is just the tip of the creature's tail.

There is a lot of extreme emotion in Korean film. It's because there are a lot of extremes in Korean society.

I'm sure mothers are important across every culture, but particularly in Korean society, the role of the mother is of great importance.

No matter where I am working, I cannot make a film without 100% creative control and final cut. If there is such a guarantee, I can work anywhere.

The multilevel, the conscious and the unconscious, is natural when I write scripts, when I come up with ideas and stories.

In Korean films there is only really a strong tradition of melodramas.

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

I always write the script by myself.

I love the Japanese director Shohei Imamura. His masterpiece in 1979 called, the English title was 'Vengeance is Mine'.

Organizing a coup was not the same as wanting one.

I detest audiences - not in their individual components, but en masse I detest audiences. I think they're a force of evil. It seems to me rule of mob law.

No matter what, you will be always wrong.

Placebo is music for outsiders, by outsiders and our gigs are like conventions of outcasts, which is cool.

God, life changes faster than you think.

Identity politics are wearisome; you don't want to go on speaking for any one group as a writer.

Truth always ends by victory; it is not unassailable, but invincible.

I wrote short stories when I was a teenager, but they weren't any good and I kinda knew it.

To define is to limit.

We keep, in science, getting a more and more sophisticated view of our essential ignorance.