A Quote by Kim Jee-woon

Korean films have always been distributed to international audiences as arthouse films. — © Kim Jee-woon
Korean films have always been distributed to international audiences as arthouse films.
I've always been interested in showing our films to international audiences. The easiest way is through the festival circuit, a big marketing platform for films that aren't big enough to be in the mainstream race.
Tokyo is wonderful for distribution of international films, a lot of Iranian films, Taiwanese films. But most of the art films are from Europe and Asia.
You know, independent films have been institutionalized, practically. Every studio has got a boutique arthouse label. There's like, 18 different independent film-financing funds. In fact, I think the children of those films are getting made. A more interesting question is whether those films are going to get seen and appreciated.
Films have been my only passion in life. I have always been proud of making films and will continue taking pride in all my films. I have never made a movie I have not believed in. However, though I love all my films, one tends to get attached to films that do well. But I do not have any regrets about making films that did not really do well at the box office.
In the olden days films used to become huge hits because of family audiences. But nowadays certain films cater to youth audience and once that is exploited then the film stops. and some films are for a mature audience. My aim is to satisfy all the sections of the audiences.
I'm happy that my films were discovered by chance by foreign film festivals. That makes me realise more that there is a world outside Japan too. For me, it's an occasion to meet many people and to experience directly the response of international audiences to my films. But for me as a director, my attitude towards making films hasn't changed with the fame. I feel it's not good to change as a person anyway
I can remember, after I started doing films, my mum began going to more arthouse films. She went to see 'Edward Scissorhands' and phoned me up and said: 'What was that all about? He had scissors on his hands.' Good question. I think she should review films on Channel 4.
When I meet fans who relate to Korean films and dramas even though they don't understand the language or the culture, and when they talk about studying Korean and traveling to Korea because of those films and dramas, I think to myself that this is the true force of the Hallyu wave.
You've got these big studio films and these tiny independent films now. It's very much either/or. With the independent films, it's always a beautiful risk - it might never be seen. With the studio films, you're conforming to the formula of what's always been in place.
I was never that kid who grew up in New York and was always at the arthouse watching important films. I was the kid who grew up in the Midwest where there weren't any art films, and I watched TV. And that was really the medium that affected me and that I fell in love with.
Free time keeps me going. It's just something that's always been a part of my life. I was originally a painter, and I made films sort of as an extension of that, and then I started to try to make dramatic films because the early films were experimental films.
You know, independent films have been institutionalized, practically. Every studio has got a boutique arthouse label.
I'm a big fan of silent cinema and I think that before I got into the canon of European arthouse cinema, the first interesting films I liked as a kid were German expressionist silent films.
The financing of my films has always been international.
I've always been fascinated by horror films and genre films. And horror films harbored a fascination for me and always have been something I've wanted to watch and wanted to make.
I enjoy making films. I have made all kinds of films, including action films, romantic films, period films like 'Kala Pani.'
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