I love sports. Anytime I can combine sports with a film I'm a happy guy. It's such a natural fit, because sports always seems to be a metaphor for life. Always, always, always.
I just don't want to make the same old movies. I'm not interested in it. Directing's hard. It takes up a lot of your life, and I'm not that interested in making the same old film.
I don't see my old films, but I think of the characters I played as friends, like the women I meet in my life who made strong impressions on me. I remember them and they are part of me.
The only thing in life that really gives me any peace is just being lost in the process of creating something, whether it's the film or painting and drawing, which has been a big part of my life, for a long time.
I've always been a huge fan of thrillers like David Fincher's 'Se7en.' I am fascinated by the disturbing, dark underbelly of life. I find such films deeply engrossing. They delve deep into the human psyche, and that's a place worth exploring.
I have a nervous breakdown in the film and in one scene I get to stand at the top of the stairs waving an empty sherry bottle which is, of course, a typical scene from my daily life, so isn't much of a stretch.
I'd always heard stories about how Harpo Marx was the most talkative of the Marx brothers. I found it interesting that someone you never got to hear speak in films would never not speak in real life.
My grand plan is that I can master having a better life by making sure I have a regular flow of songs. Then I can give myself time to tour or celebrate or write a film score.
Filming takes a lot out of you. It really does. It's immensely demanding, and you have to put the rest of your life in the icebox until you do your final shot.
I want to be in 'The Hobbit.' I love fantasy and mythical adventure films. I believe in fairies and angels. I believe in nature's spirit, that there are other realms, other planets, life forms.
'Pride' is my first film with a happy ending. Before, I naively thought they were a cop-out, but now I've come to believe that happy endings and wish fulfilment are an incredibly important part of our cultural life.
I'm proud of all the movies I've made. They're not sequels, they're not franchises. And the reason I pick my films carefully is that I don't want to spit on my life. I like to think of myself as more than that.
I've always used my own personal emotions and things that I've gone through in my life to build a character. The work that I do before a film feels almost like therapy, between me and whoever I'm playing.
What can possibly be the common factor in a Kim Jee-woon film? I think what really ties a lot of my projects together is that there is always a character that believes his life is not exactly the way he wishes it to be.
All the Disney Princess films are iconic and beautiful, so to have been a part of all that was really a wonderful part of my life. It's all fabulous, too, that I have a daughter that appreciates the whole Princess thing.
It's like two years straight out of your life doing a film. It's very enjoyable, especially working with the guys, but I kind of like the idea of traveling and growing, and developing as a writer and as a filmmaker.
I think when you're young and have that first burst of energy and make five or six pictures in a row that tell the stories of all the things in life you want to say... well, maybe those are the films that should have won me the Oscar.
My movie is born first in my head, dies on paper; is resuscitated by the living persons and real objects I use, which are killed on film but, placed in a certain order and projected on to a screen, come to life again like flowers in water.
I'm really keen to go back and do some theatre, but I can't afford to at the moment because we're getting married in September. And then I'm hoping to direct a film at the end of this year, and that means a year of your life without pay.
I wanted to make a film - and I've been wanting to do this for 16 years - about life in care, and bring it to the public's attention, because I had never seen anything, on TV or in the cinema, which said: 'This is how it feels to be a kid in care'.
In the mid-1990s, when I stopped having to run from the shows to the film developing lab and first saw digital images, I blessed technology and was convinced that my working life was changing for the better.
