A Quote by Lee Je-hoon
It would be meaningful if 'Taxi Driver' were to reinterpret cases that were unresolved in the past. A 16-episode miniseries was too short to contain all the stories that we could have told.
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If you got into a taxi and the driver started driving backward, would the taxi driver end up owing you money?
I don't think that there's a target audience at all. These stories were in circulation. The stories were told by men, told in the marketplace by men, but also behind doors by women, but there's no real record of this. It's likely they were told by women to children in their interior rooms. The story could be a negative story, they could be presented as a, "Watch out! Women will get round you, do things to you, weave you in their toils." It could be buried in it an old cautionary story about women and their wiles.
Personally, I would really like the entire production staff of Taxi Driver,' and all the characters including prosecutor Kang Ha Na, to come back together and continue the stories of Rainbow Taxi.
Stories were primarily verbal to begin with. Before there were cave paintings, stories were told over generations. We tell each other thousands of stories in the course of everyday life.
I thought I could capture the stories of the city on paper. I thought I could write about the horrors of the city. Horror stories you see. I tell you I didn't have to look far for material. Everywhere I looked, there were stories hidden there in the dark corners. . . . I wrote and still there were more. . . . No one would publish them. 'Too horrible,' they said. 'Sick mind,' they said. I thought I could write about the horrors of the city but the horror is too big and it goes on forever.
I've always loved short stories. Even before I was a writer, I was reading short stories - there were certain writers where I just felt like they could do in a short story what so many writers needed a whole novel to do, and that was really inspiring to me.
If he (The New York Taxi Driver) talked to me, he might lose his concentration, which would be very bad because the taxi has some kind of problem with the steering, probably dead pedestrians lodged in the mechanism, the result being that there is a delay of 8 to 10 seconds between the time the driver turns the wheel and the time the taxi actually changes direction, a handicap that the driver is compensating for by going 175 miles per hour, at which velocity we are able to remain airborne almost to the far rim of some of the smaller potholes.
Until the '90s, major labels were looking for a certain look. This Sony guy told me I was 'too black, too fat, too short, and too old.' Told me to go and bleach my skin. Told me to step in the background and just stay back. I had the voice, but I didn't have the looks.
I was told stories, we were all told stories as kids in Nigeria. We had to tell stories that would keep one another interested, and you weren't allowed to tell stories that everybody else knew. You had to dream up new ones.
You see, I was told stories, we were all told stories as kids in Nigeria. We had to tell stories that would keep one another interested, and you weren't allowed to tell stories that everybody else knew. You had to dream up new ones.
Taxi Driver' is about taking revenge for the people who were hurt.
When I started listening to rap music, I loved the fact that there were stories being told in 16 bars.
Lincoln and Clinton had a lot in common in the way they were elected: In both cases, they were dark horses. In both cases, they were from small states. In both cases, they were not the favorite for their parties' nomination.
The newspaper stories were like dreams to us, bad dreams dreamt by others. How awful, we would say, and they were, but they were awful without being believable. They were too melodramatic, they had a dimension that was not the dimension of our lives. We were the people who were not in the papers. We lived in the blank white spaces at the edges of print. It gave us more freedom. We lived in the gaps between the stories.
I've always loved short stories. Even before I was a writer I was reading short stories - there were certain writers where I just felt like they could do in a short story what so many writers needed a whole novel to do, and that was really inspiring to me. Alice Munro, I felt that way about from an early time. Grace Paley.
We do want the freedom to move scenes from episode to episode to episode. And we do want the freedom to move writing from episode to episode to episode, because as it starts to come in and as you start to look at it as a five-hour movie just like you would in a two-hour movie, move a scene from the first 30 minutes to maybe 50 minutes in. In a streaming series, you would now be in a different episode. It's so complicated, and we're so still using the rules that were built for episodic television that we're really trying to figure it out.
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