“It seems to me that the idea of transmitting coldness - whether deliberately or unwittingly - might offer an interesting imaginative starting point for a contemporary story, romantic, comic or tragic in tone.” [On a particular theme he is eager to produce]
“I'm in a unique situation. I'm like now an elderly retired guy who made a lot of money, and now I can just, instead of playing golf, I can make art films.”
“I was lucky to be able to bring to fruition unlikely projects that were close to my heart like ‘Nocturne Indien’ or ‘Tous Les Matins Du Monde’, which fulfilled my wish to make a film about Baroque music, some of my other films could have been better, but I avoid watching them.”
“I think cinema has to deal with desire. In the cinema, you are with a big screen, it is dark, and you watch some images, like a fantasy, so I think it is important for you to feel desire for what you see.”
“People say I pay too much attention to the look of a movie but for God's sake, I'm not producing a Radio 4 Play for Today, I'm making a movie that people are going to look at. ”
“Anybody who comes to the cinema is bringing their whole sexual history, their literary history, their movie literacy, their culture, their language, their religion, whatever they've got. I can't possibly manipulate all of that, nor do I want to.”
“You know, people always think if you start out as a film editor, you shoot less footage. Actually, just the opposite is true. I tend to grab as much coverage as I can because as a former editor I know how important it is to have those few frames. ”
“There’s no question that ‘Green Fish’ and ‘Peppermint Candy’ draw on the political and economic problems of Korea. But they weren’t my main focus. My main interest has always been human beings. I believe film is the best medium to show something about human beings.”
“...my work has a coherence within its incoherence because I've decided to work with elements that I know to the core, to work with characters and settings I've lived with.”