A Quote by Lee Yoon-ki
I never make a film with a message in mind. I'm more interested in the characters; how they are related to each other and the situation they're in.
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We see them [animals] as the Ice Age is ending and we know that actually in the long run, they're not going to make it. And there's something beautiful about that, beautifully sad. The way the characters are woven together in the film adds to the emotion because they need each other. The message is that it doesn't matter what species you are, you can still love each other and that is a fantastic message.
I'm less interested in how we label ourselves. I'm more interested in how we treat each other. And if we're treating each other right, then I can be African-American, I can be multi-racial, I can be you name it, what matters is, am I showing people respect, am I caring for one, for other people.
They really make sex into such a horrible thing and how terrible anything related to sex is, but isn't that why we're all here? We wouldn't be here at all if two people in our past hadn't been horny for each other, that's how it works. So we can't continue unless people keep being horny for each other, that's just the way it is.
I would like to carve my novel in a piece of wood. My characters—I would like to have them heavier, more three-dimensional ... My characters have a profession, have characteristics; you know their age, their family situation, and everything. But I try to make each one of those characters heavy, like a statue, and to be the brother of everybody in the world.
It wasn't really my intention to make movies quickly - it's more to do with the reality of the Japanese film industry. That's been the only way for me to change my situation; to prove how little time you need to make a good film.
I'm less interested in how people are following each other and more interested in how they are following topics and tweets themselves. People are following more key words and concepts and more ideas and acting on those rather than individuals or organizations.
When people come to see my stand-up, they get a chance to see my characters interact with each other. I enjoy pushing my characters to the limit. No matter how far out there I go, I look for things that make the characters human.
I feel lucky that Viceland wanted to make it, and I'm producing more than one film with LGBT characters and stories and it's because it's what I'm interested in. I'm not going to read a script and say, 'They're not gay, I'm not going to do it,' but I am interested in playing more gay people, because I've only played one gay person, and I've done a fair amount of movies, and I am interested in those stories. So for me, there's no should-I-or-shouldn't-I. It all feels natural.
We're inquiring into the deepest nature of our constitutions: How we inherit from each other. How we can change. How our minds think. How our will is related to our thoughts. How our thoughts are related to our molecules.
Sometimes you have to make decisions that necessarily exclude the collective. It's more difficult to be a friend - even though they know each other and they treat each other like friends, it's more of a challenge for them. It's just institutional fact; the two characters that are the most aloof are the ones who have the most responsibility.
I try to employ a different strategy for each story. Often, I'll have a specific look in mind before I even have the story to go with it. I'm not so much interested in forcing the issue of reader identification through various graphic tricks. I'm more interested in creating specific characters that resonate with my own particular inner struggles.
You create this situation where you are so dependent on each other. That's especially true for film. In theater, the actor has much more say, much more control, for better or worse.
Flaws make us all human, and you're rooting for characters because of those flaws. It's ageless if you're interested in relationships and the way people can or can't relate to each other.
With each film, I get more and more involved and it's more and more time-consuming. Also, I like to break myths and people's preconceived ideas. My characters have always stood for something, have always had an opinion, although they've never really rebelled.
My background are acting, film production, directing, and I studied them for many years. Keep in mind that you need many other skills when you are starting any film project related to real life.
As a director, I have to feel realism from actors, and they can't be plastic. The words for me are secondary, but the chemistry between the actors is most important. However, you have to go by the script because it's related to production, otherwise you will not finish your project. My background are acting, film production, directing, and I studied them for many years. Keep in mind that you need many other skills when you are starting any film project related to real life.
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