The superhero is a really popular figure in the West. In Asia or Korea, the young viewers are amused by the figure, but it is not really so sensational.

Until the end of elementary school, I lived in a suburban area, so the type of village I used to live in is borderline between village and the city, so I'm familiar with the rustic environment.

When you first think of making a monster movie you have to realize that a lot of people may be down on you because there is a big prejudice against such films.

I always write the script by myself.

I am a fan of the monster and horror genre but that's not my style as a director.

I don't intentionally make my films with the express goal of surprising the viewer.

I don't write any kind of sequel or remake.

I like to draw my storyboards myself.

I love the Japanese director Shohei Imamura. His masterpiece in 1979 called, the English title was 'Vengeance is Mine.'

I really love 'The Thing.'

I regard remaking a film as creating something again.

I think each film should be regarded as its own specific text.

I'm sure mothers are important across every culture, but particularly in Korean society, the role of the mother is of great importance.

In Korean films there is only really a strong tradition of melodramas.

In the mid 1990s the Korean film industry was really open-minded.

No matter where I am working, I cannot make a film without 100% creative control and final cut. If there is such a guarantee, I can work anywhere.

The mother's love for her child is very strong in Korean society - almost on the borderline of being an obsession.

The multilevel, the conscious and the unconscious, is natural when I write scripts, when I come up with ideas and stories.

There is a lot of extreme emotion in Korean film. It's because there are a lot of extremes in Korean society.

There's hardly any governmental censorship in Korea.