A Quote by Lee Isaac Chung

Any time there is a film in a 'foreign language,' in Spanish or Korean or whatever language, it's usually not an American film. It's usually from another country. — © Lee Isaac Chung
Any time there is a film in a 'foreign language,' in Spanish or Korean or whatever language, it's usually not an American film. It's usually from another country.
'Minari' was only eligible for the best foreign language film category due to the HFPA rules on language, so the film was submitted to meet these rules; there was no choice involved in the matter.
When you do a film in a foreign language, you know there's a cost in it, that you know, unfortunately, the audiences of foreign language films have not been cultivated. There's a market, but the market has been reduced, unfortunately, and you know that when you're making a foreign language film, you're making a choice.
Not only do I look at the playback with the actors, but I look at the on-set assembly footage with the sequences with my actors as well. These are the reasons why I take twice as much time to shoot a film in Korea. Thinking back, I remember on my first ever Korean film, I never used any playback or on-set assembly, so all I had to do was to tell myself it's just like making my first ever Korean-language film. After that, I felt right at home.
I just want to say that 'Minari' is about a family. It's a family trying to learn how to speak a language of its own. It goes deeper than any American language and any foreign language.
'Arrival' talks very little about language and how to precisely dissect a foreign language. It's more a film on intuition and communication by intuition, the language of intuition.
On stage, you're not limited at all because you're free in language: language is the source of the imagination. You can travel farther in language than you can in any film.
The way the educational system in Russia works is studying a foreign language is part of the program, so by the time you get to the age of 10, you pick up another language. I speak a bit of Russian, a bit of English, a bit of Spanish a bit of French.
I definitely have moments in my life where I discovered a film, and the language of the film itself spoke to me in a way, as if someone came up to you and started speaking a language you'd never heard but understood and was able to express things the language you knew could not.
While 'Babel' is a foreign-language film in some countries, in others, it is a local film.
My grandmother, if she were still alive, she'd be very proud that I held through and did a film in Korean and didn't compromise and then start using that foreign language of English.
In some countries, of course, Spanish is the language spoken in public. But for many American children whose families speak Spanish at home, it becomes a private language. They use it to keep the English-speaking world at bay.
We switch to another language-- not our invented language or the language we've learned from our lives. As we walk further up the mountain, we speak the language of silence. This language gives us time to think and move. We can be here and elsewhere at the same time.
I am an actor and I don't have any language barrier. If I get a Tamil film, I will learn the language. It's not a problem.
The first time I went to Mexico, it was really difficult. Number one is the language, I didn't know any Spanish language. Of course, the culture itself. Very different from where I grew up.
I look at a film as just a film; language doesn't really matter. I just don't want to limit myself to a particular language, genre or medium.
I think it's important if you're American to have a second language, and Spanish is the language to have.
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