A Quote by Kim Jee-woon
Lionsgate and Lorenzo di Bonaventura saw my Korean Western-style film, 'The Good, the Bad, the Weird,' and probably felt that I would be right for 'The Last Stand,' which could be classified as a modern Western.
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I've made the film 'The Good, the Bad, the Weird,' which was an Eastern Western film. Obviously, the Western film is American and American only; there's really no Western genre over in Asia.
When I was making these damned pictures, I never knew about film noir. If you had asked me about it then, I probably would have pointed to something like Bill Wellman's The Ox Bow Incident, the best Western I ever saw and very much in the style of film noir I don't care if it's a mystery story, a Western, or the story of Julius Caesar. To me it's the emotion, the lies, the double-cross that defines what kind of drama it is.
The reason why I always wanted to make an American film was because of the Western genre. It is something that I would very much like to make in the future, because it's very uniquely American, and I can't make a Western film in Korean.
It is one of the perceptual defects of Western government and press to assign Western-style motives to what people do in non-Western societies, as if these are universally relevant.
In a traditional Western there's always the bravado, and it's almost like they're winking that they know they're in a Western - "Look how good I can spin my gun." In real life, when the bad guy kills somebody, or they're bad guy friend gets killed, they're upset, too, which is not typical in Westerns.
The Western is as American as a film can get - there's the discovery of a frontier, the element of a showdown, revenge, and determining the best gunman. There's a certain masculinity to the Western that really appealed to me, and I've always wanted to do a Western in Hollywood.
The idea of doing a children's film is different, but quite honestly I like doing anything - any genre. I've only made one Western, which was 'Three Amigos,' but I would love to make a serious Western. I'm just wide open.
As I have pointed out, it is the Christian tradition that is the most fundamental element in Western culture. It lies at the base not only of Western religion, but also of Western morals and Western social idealism.
No civilisation, not even that of ancient Greece, has ever undergone such a continuous and profound process of change as Western Europe has done during the last 900 years. It is impossible to explain this fact in purely economic terms by a materialistic interpretation of history. The principle of change has been a spiritual one and the progress of Western civilisation is intimately related to the dynamic ethos of Western Christianity, which has gradually made Western man conscious of his moral responsibility and his duty to change the world.
Especially for this film [ 47 ronin] there's a nice mixture between western and eastern. So Ronin wearing the boots, like Western style. It's a nice mixture.
I love researching, whether it's old Western documentaries or old Western country singers or John Ford Westerns, which are heavily influenced by family values, which so many of these country songs are related to. I'm having a good time doing that, and writing some treatments and hoping to bring a new style of music video to the country genre, that is starting to become very poppy.
I suppose that the Western has always been a kind of mold to which you could pour the concerns of the day, but have them seen in the simple terms of the Western, of one alley or whatever.
A Western would be good. I'd love to do a Western.
My last experience of film-making was Tickets, a three-episode film in Italy, the third of which is directed by myself. It's not for me to judge whether it's a good film or a bad film, but what I could say is that nobody had a cultural or linguistic issue with what was produced.
A lot of people are very interested that a Korean director has made a western. But when I look at the reactions of the audience, I realise the points at which people laugh are the same for a Korean audience and an international audience.
Ennio Morricone is royalty. He doesn't really do this a lot and Quentin brought him back [in Hateful Eight]. Quentin [Tarantino] basically went back and made his The Good, The Bad and The Ugly-kind of film, the ultimate epic spaghetti western, and then you've got mister spaghetti western himself scoring your movie. It's gonna be hard to not vote for him in a landslide. Probably the easiest win of the night.
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