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.
I was an insecure kid. Once I saw 'Hercules' with Steve Reeves, it completely changed my life. If I had never gone to that film, I wouldn't be here today.
Advertising, music, atmospheres, subliminal messages and films can have an impact on our emotional life, and we cannot control it because we are not even conscious of it.
The process of composing the film score for each movie is completely different. They all have their own personality and their own completely different life, but there's never been a formula. Each time, it's a new thing.
I feel like I'm still learning a lot. I think there's a tendency for people who are just doing their first couple of films that I see now where they seem to be really resentful of the technical limitations that come along with filmmaking.
I think you need to understand games to write them. There's a learning curve, just like there's a learning curve in anything. It's not precisely the same as film or television, but you're using the same muscles.
In the old days, before there was such a thing as film schools, directors learned the camera by watching other directors, and learning from their own dailies, and listening to the cameraman, and seeing what would work. Some of those guys could cut th...
I love my films. I have stacks and stacks of DVDs. I put 'Last of the Mohicans' on the other day with Daniel Day-Lewis. It hurts me to say it because he's a Millwall fan, but I think he's fantastic.
People have always liked to be frightened. People love to feel that jolt of adrenaline. People love roller coasters. People love skydiving. These things that really get your heart pumping, and horror films are sort of a safe way to get that rush I gu...
Michael Moore didn't have to worry that anyone would misinterpret the title of his film, 'Capitalism: A Love Story,' because in Hollywood, no one loves capitalism. That's too bad, because Hollywood is one of capitalism's greatest successes.
And doing a film in that period, and having to really celebrate what they wore back then, how they sat and how they spoke. You know, what the etiquette was back then for a lady. All of those things are like putting on a wig and transforming yourself,...
Most of the books and films I love walk a knife edge between romance and cynicism, and I wanted 'One Day' to stay on that line. I wanted it to be moving, but without being manipulative.
I actually got a part in 'The Love Guru', that Mike Myers film. I heard it's awful. I got a Razzie award for it, which I'm quite proud of, but I still haven't seen it. I have no plans to branch out.
I love the idea I can go off with a single camera and a few rolls of film unencumbered... I was not interested in the illusion of reality, I wanted to get close to what was happening.
