A Quote by Bong Joon-ho

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. — © Bong Joon-ho
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.
They say now in America that final cut doesn't mean anything. As Harvey Weinstein said to some film-maker, 'You can have final cut. I'll open your film in Arkansas.'
I'm an independent filmmaker with complete creative control of my films. I hire who I want. I have final cut. But at the same time, I go directly to Hollywood for financing and distribution. I find it's best for me to work within the Hollywood system.
When I am in a relationship, I give it my 100 per cent. But then, if it doesn't work, you cannot help it. You cannot move ahead with something which isn't working.
As a first-time director, you cannot have final cut. But as a producer, you can have final cut.
The film [ Wyatt Earp and the Holy Grail] was shot on a KODAK Zi8 camera as well as on multiple camera phones. It was processed using the effects of FINAL CUT X and then edited in FINAL CUT 7.
What I believe is to keep working. How a film performs at the box office is not in my control: what is in my control is my work, how much honesty I can bring on-screen. I am happy people love me.
I would rather not make a film than make one where I don't have final cut.
It's really hard to guarantee things in life. I guarantee if you get up in the morning and you work out, and you work hard, you will have a better day - 100% guaranteed.
The thing I realized about final cut is it's the power of the best cut. I didn't have final cut on 'Prisoners,' but what you saw is the best cut. 'Sicario' is a directors' cut. 'Arrival' is a directors' cut.
We don't control everything. There are genetic influences. There are environmental exposures we don't control. I cannot guarantee anyone I counsel that by following what I hope is the good advice I offer them, they will live long and prosper. That's what I'm hoping for but I can't guarantee that. What I can tell them is this: "Look, I can help you firmly grip the wheel, and you can steer the ship. You're never going to control the winds and you're never going to control the seas. But if you sail well you can get through just about anything."
When I'm editing, I tend to cut, go back over it, cut, go back over it, cut, so by the time I'm done, even with a cut, I don't have a rough cut and then work on it so much. I have a pretty rigorous cut of the movie that's usually in the range of what the final movie is going to be. It doesn't mean I don't work on it a lot after that, but I get it into a shape so I feel I can really tell what it needs, or at least it's ready to show people.
I saw an early cut of 'The Disaster Artist,' and I thought it was inspiring in a lot of ways, and it made me realize it had been so long since I had tried to make a film or to try to - you know, the book was obviously my first kind of big creative pursuit I had control over.
While we cannot guarantee that we shall one day be first, we can guarantee that any failure to make this effort will make us last.
I tell my students that with a 200-page novel, you are going to write 100 pages that don't make the final cut. See it as an opportunity, although it took me a while to enjoy that 'lost in the woods' feeling.
I enjoy my work, no matter who I am working with. Even if you give me a solo silent film, I will enjoy it.
I do love directing. I'm only comfortable working in the independent film arena for a very small budget where I have creative control and I can put my stamp on it.
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