
English: 
- There's a list of who
is here right today.
(audience applauding)
(speaking Korean)
Please welcome director Quentin Tarantino.
(audience applauding)
(speaking Korean)
(audience applauding)
- Well it's a great
pleasure to be on the stage

English: 
- There's a list of who
is here right today.
(audience applauding)
(speaking foreign language)
Please welcome director Quentin Tarantino.
(audience applauding)
(speaking foreign language)
(audience applauding)
- Well it's a great
pleasure to be on the stage

English: 
with two of the imminent
storytellers in movies today.
And I think that a good
place to start is actually
Quentin, if you could just
tell us a little bit about
what brings you to the
Busan Film Festival and
how you've been enjoying your stay here.
- Oh I, I came here in '06 actually.
I was going to Macau
for an awards ceremony
and I was getting ready
to go to another festival.
And a friend of mine Jen Ajoo is here,
who was my campaign director on Bastards
and his casting director on Stump here so,
said she's coming to the Busan festival
and she's gonna hang out with Bong
and I'd never met him and always wanted to
so I said can I come?
She said yeah, and here I am!
(audience applauding)
Have we never met each other before?
We hung out for the last two
days and had a great time.

English: 
with two of the preeminent
storytellers in movies today.
And I think that a good
place to start is actually
Quentin, if you could just
tell us a little bit about
what brings you to the
Busan Film Festival and
how you've been enjoying your stay here.
- Oh I, I came here in '06 actually.
I was going to Macau
for an awards ceremony
and I was getting ready
to go to another festival.
And a friend of mine Jenny Jue is here,
who was my casting director on Basterds
and his casting director on "Snowpiercer" so,
said she's coming to the Busan Festival
and she's gonna hang out with Bong
and I'd never met him and always wanted to
so I said can I come?
She said yeah, and here I am!
(audience applauding)
Have we never met each other before?
We hung out for the last two
days and had a great time.

English: 
(speaking Korean)
- Elite director on many,
you can tell us a little bit
about how you first
became aware of his work
and what impressed you
about him and director Bong
could maybe say the same
thing about Mr. Tarantino.
(speaking Korean)
- Well when I, the first
film of Bong's I saw was
in America was "The
Host" when it got released
in the theaters and I heard
it was a really good film
and I saw it and I was blown away.
I thought it was really terrific.
And I thought that, almost of
all the filmmakers out there
that I've seen in the last 20 years,
Bong has that thing
that, '70s Spielberg had.
Where, he can do many
different types of stories,

English: 
(speaking foreign language)
- Elite director on many,
you can tell us a little bit
about how you first
became aware of his work
and what impressed you
about him and director Bong
could maybe say the same
thing about Mr. Tarantino.
(speaking foreign language)
- Well when I, the first
film of Bong's I saw was
in American was "The
Host" when it got released
in the theaters and I heard
it was a really good film
and I saw it and I was blown away.
I thought it was really terrific.
And I thought that, almost of
all the filmmakers out there
that I've seen in the last 20 years,
Bong has that thing
that, '70s Spielberg had.
Where, he can do many
different types of stories,

English: 
but no matter the type of story,
there's always this level
of comedy and entertainment
that is there, like you know,
when you think about "Jaws,"
everyone thinks about the big scare scene
through the big suspense
but there's all these little
wonderful comic moments, human
moments all the way through
and I see that all throughout Bong's work.
And that got me, to see,
"Memories of Murder," which I
just think is a masterpiece.
And, and but I like it
actually both equally.
I think they're both equally
great in their own way.
And, made me a big big fan.
(speaking Korean)
Shows, older films, all 35 millimeters,
it's called "The New Beverly."
And we had a Bong double-feature.
We showed "Memories of
Murder" in 35 millimeter
and "Mother" in 35 millimeter
and it was a great double feature
and I've only seen it on
DVD, so to actually see it
in a movie theater was even better.

English: 
but no matter the type of story,
there's always this level
of comedy and entertainment
that is there, like you know,
when you think about "Jaws,"
everyone thinks about the big scare scene
through the big suspense
but there's all these little
wonderful comic moments, human
moments all the way through
and I see that all throughout Bong's work.
And that got me, to see,
"Memories of Murder," which I
just think is a masterpiece.
And, and but I like it
actually both equally.
I think they're both equally
great in their own way.
And, made me a big big fan.
(speaking foreign language)
Shows, older films, all 35 millimeters,
it's called "The New Beverly."
And we had a Bong double-feature.
We showed "Memories of
Murder" in 35 millimeter
and "Mother" in 35 millimeter
and it was a great double feature
and I've only seen it on
DVD, so to actually see it
in a movie theater was even better.

English: 
(speaking Korean)
- I tell you, it "Pulp Fiction."
It was released in '97 in
Korea and I was in college
at the time and I heard later that,
"Pulp Fiction" [inaudible]
And when I, once I saw I was so shocked
and I think it was a, I
think a narrative style 
that nobody thought of
at the time
and I think it was not just me
and I think all of my friends
at the film college, we
felt the same way.
(speaking Korean)

English: 
(speaking foreign language)
- I tell you it was for perfection.
I was at a list in '97 in
Korea and I was in the college
at the time and I heard later that,
the person was quite alone
and lonely at a film fest.
And when I, once I saw I was so shocked
and I think it was a, I
think a relative of the spire
that nobody then told them
and others at the time
and I think it was not just me
and I take all of my friends
end of the college, with
friends the same way.
(speaking foreign language)

English: 
And after "Pulp Fiction"
of course I watched the
"Reservoir Dogs," I searched
it and I watched it on video
and it was also a very shocking experience
and especially the scene,
the cutting the ear,
I think it was beautiful.
(speaking Korean)
Until the last scene my
parents in a hobby hotel
hugging the Teen Wolf in full blood and
I don't think it, but that
scene was actually reminding me
of the great tragedy.
(speaking Korean)

English: 
And after the perfection
of course I watched the
"Reservoir Dogs," I searched
it and I watched it on video
and it was also a very shocking experience
and especially the scene,
the cutting the ear,
I think it was beautiful.
(speaking foreign language)
Until the last sin my
parents in a hobby hotel
hugging the Teen Wolf in full blood and
I don't think it, but that
scene was actually reminding me
of the great tragedy.
(speaking foreign language)

English: 
I think after that I
think I just, you know,
not just me, the all of the
fans see it all the time,
believing and waiting for
the Quentin's next film.
I take it is not memorable,
liking this one better
than the last.
I think, every three of
four years, major film
and I think everyone is just
waiting loving your film.
(Quentin laughing)
- I'm curious to talk a
little bit about genre films
because you both gravitate
towards working in genre.
But using to get at larger things.
You've made Quentin, a
revenge Western about slavery,

English: 
I think after that I
think I just, you know,
not just me, the all of the
fans see it all the time,
believing and waiting for
the Quentin's next film.
I take it is not memorable,
liking this one better
than the last.
I think, every three of
four years, major film
and I think everyone is just
waiting loving your film.
(Quentin laughing)
- I'm curious to talk a
little bit about genrephobes
because you both gravitate
towards working in genre.
But using to get at larger things.
You've made Quentin, a
revenge Western about slavery,

English: 
a men on a mission movie
about the Holocaust
and director Bong has made a monster movie
about environmental issues
and American pollution in the Haan River.
Now a post-apocalyptic dystopian film
very much in the class warfare.
And there's obviously a
rich history of genre films
talking about, really, themes
but buried under the
surface of conventions
and we're told a little bit about
what draws both of you to
making this kind of stuff.
(speaking foreign language)

English: 
a men on a mission movie
about the Holocaust
and director Bong has made a monster movie
about environmental issues
and American pollution in the Han River.
Now a post-apocalyptic dystopian film
very much in the class warfare.
And there's obviously a
rich history of genre films
talking about, really, themes
buried under the
surface of conventions.
Talk a little bit about
what draws both of you to
making this kind of stuff.
(speaking Korean)

English: 
- Yeah, um,
I think those are just
the kind of movies I like.
Alright, those are the kind,
I watch all kinds of movies
but those are the movies
that I gravitate towards.
And those are usually, it
comes by my favorite director.
Those are the ones that I collect
and get kind of obsessive over.
But, when I throw my hat in the ring
and you know, either "Kill Bill,"
martial arts movie or,
that I'd never done before
or a war movie which
I'd never done before,

English: 
- Yeah, um,
I think those are just
the kind of movies I like.
Alright, those are the kind,
I watch all kinds of movies
but those are the movies
that I gravitate towards.
And those are usually, it
comes by my favorite director.
Those are the ones that I collect
and get kind of obsessive over.
But, when I throw my hat in the ring
and you know, either "Kill Bill,"
martial arts movie or,
that I'd never done before
or a war movie which
I'd never done before,

English: 
or, a Western which I'd never done before,
my idea is to do them my way.
Only I'm hoping to reinvent
the genre a little bit.
Not do them the normal
way, just do it my way
and hopefully that's,
I do it, you know I make my
own little Quentin version
of them and,
and, that's what I'm trying to do
is just make my Quentin version
of what I've already liked.
- You mentioned some of the directors
that were particularly important to you,
made genre films in their areas.
- [Female Translator] Yes, thank you.
- It's studying from a
professorship in cinema
and the day I die is the
day I graduate, you know,
it's a life long study.
And, and so, when it comes
to like say something like
Spaghetti Westerns, you
know I love Sergio Leone,
I love Sergio Corbucci, or Duccio Tessari,
people like that.

English: 
or, a Western which I'd never done before,
my idea is to do it in my way.
Only I'm hoping to reinvent
the genre a little bit.
Not do them the normal
way, just do it my way
and hopefully that's,
I do it, you know I make my
own little Quentin version
of them and,
and, that's what I'm trying to do
is just make my Quentin version
of what I've already liked.
- You mentioned some of the directors
that were particularly important to you,
made genre films in their areas.
- [Female Translator] Yes, thank you.
- It's studying from a
professorship in cinema
and the day I die is the
day I graduate, you know,
it's a life long study.
And, and so, when it comes
to like say something like
Spaghetti Westerns, you
know I love Sergio Leone,
I love Sergio Cabucci, or Ducio Dissari,
people like that.

English: 
And I love those films
and I'm a student of them
and I appreciate them and
they're all in my head
as far as cinema vocabulary is concerned.
But, those are all still
movies that are a product
of their time.
Alright, Cabucci or Leone does his movies,
they are a '67, they are a '68, '69.
I'm trying to do the
2013 perspective of them,
both my perspective and the
perspective of the audience now
who has maybe never seen those before,
but they can relate to.
(speaking foreign language)
- Actually I would like to,
of course I would like the
American style of films
that we talked about last night
and I actually like the '70s,
the genre from that era.
(speaking foreign language)

English: 
And I love those films
and I'm a student of them
and I appreciate them and
they're all in my head
as far as cinema vocabulary is concerned.
But, those are all still
movies that are a product
of their time.
Alright, Corbucci or Leone does his movies,
they are a '67, they are a '68, '69.
I'm trying to do the
2013 perspective of them,
both my perspective and the
perspective of the audience now
who has maybe never seen those before,
but they can relate to.
(speaking Korean)
- Actually I would like to,
of course I would like the
American style of films
that we talked about last night
and I actually like the '70s,
the genre from that era.
(speaking Korean)

English: 
I take it this type of convention,
if I use the term convention,
of the type of American genre
when I just brought into Korean film,
it is not really, you know,
adapted even very well.
It means the type of films
is very foreign in US media
but it is not working when
the Korean club is working
at a very hard, to fans
of LA on the film fest.
(speaking Korean)
I take, I was actually
finding more pleasure
that a typical American
connection into Korean films
and how those kind of,

English: 
I take it this type of convention,
if I use the term convention,
of the type of American genre<
when I just brought into Korean film,
it is not really, you know,
adapted even very well.
It means the type of films
is very foreign in US media
but it is not working when
the Korean club is working
at a very hard, to fans
of LA on the film fest.
(speaking foreign language)
I take, I was actually
finding more pleasure
that a typical American
connection into Korean films
and how those kind of,

English: 
the cultures in Korean way.
And how they are budding in
a little bit very Korean.
(speaking foreign language)
If, in American monster in films,
it was always in the
scientist and soldiers
were most of the heroes who
would fight against this monster
but in my monster film, there
is a very beautiful family
who is fighting against this monster
and they are doing it in
a very very visual way

English: 
the cultures in Korean way.
And how they are budding in
a little bit very Korean.
(speaking Korean)
If, in American monster in films,
it was always in the
scientist and soldiers
were most of the heroes who
would fight against this monster
but in my monster film, there
is a very beautiful family
who is fighting against this monster
and they are doing it in
a very very visual way

English: 
but I take it in that
way, I take we can create,
I can create some kind
of Korean drama in it
and also creating a very
weird feeling around it.
(speaking foreign language)
And "Snowpiercer" though,
actually there is kind of a
comparison not quite in Korea.
So, actually since this is
kinda sci-fi in the genre,
I try to do it in various
traits that I want to like
and, but I believe,
and with the pleasure of a jump film,
how handle that pleasure is that,
Tarantino is the much
better one who handles it.

English: 
but I take it in that
way, I take we can create,
I can create some kind
of Korean drama in it
and also creating a very
weird feeling around it.
(speaking Korean)
And "Snowpiercer" though,
actually there is kind of a
comparison not quite in Korea.
So, actually since this is
kinda sci-fi in the genre,
I try to do it in various
traits that I want to like
and, but I believe,
and with the pleasure of a jump film,
how handle that pleasure is that,
Tarantino is the much
better one who handles it.

English: 
- It's funny because, that's the,
the whole idea that a family,
and not just any family
but a really weird,
fucked up strange family.
Like the family in "The Host,"
would be the stars of the film,
that, I almost, it's almost unfathomable
in America that that
Korean, pretty much any type
of other country that that
would be how they dealt with it.
And, that's one of the things where
you're twirling, you're
re-inventing the genre,
that's giving it a whole new face.
(speaking foreign language)
(audience laughing)
- What I must say to
the people in your film,
the characters in your film
are also the fucked up strange.
- True that, true that.
I'm actually kind of curious though,
we were at dinner the other night.

English: 
- It's funny because, that's the,
the whole idea that a family,
and not just any family
but a really weird,
fucked up strange family.
Like the family in "The Host,"
would be the stars of the film,
that, I almost, it's almost unfathomable
in America that that
Korean, pretty much any type
of other country that that
would be how they dealt with it.
And, that's one of the things where
you're twirling, you're
re-inventing the genre,
that's giving it a whole new face.
(speaking Korean)
(audience laughing)
- What I must say to
the people in your film,
the characters in your film
are also the fucked up strange.
- True that, true that.
I'm actually kind of curious though,
we were at dinner the other night.

English: 
You were mentioning, as
if anybody didn't know,
that you were a fan of
serial killer movies.
And, so you think of some of
the great serial killer movies
like Wayne Freakit's "Cruising"
or Michael Man's "Manhunter."
When you were doing Middle East murder,
were you, you know, were you
thinking about how your film
would fit inside of the
cereal killer genre?
(speaking foreign language)
(speaking foreign language)

English: 
You were mentioning, as
if anybody didn't know,
that you were a fan of
serial killer movies.
And, so you think of some of
the great serial killer movies
like William Friedkin's "Cruising"
or Michael Mann's "Manhunter."
When you were doing "Memories of Murder,"
were you, you know, were you
thinking about how your film
would fit inside of the
serial killer genre?
(speaking Korean)
(speaking Korean)

English: 
- When I was making the
memories of "Mother" actually
I started about the serial
killing, serial killers,
including all those American ones as well
and of course it was, I was
concerning about "Manhunter"
by Michael Mann and also
"Silence of the Lambs"

English: 
- When I was making
"Memories of Murder," actually
I started about the serial
killing, serial killers,
including all those American ones as well
and of course it was, I was
concerning about "Manhunter"
by Michael Mann and also
"Silence of the Lambs"

English: 
by George Dineen,
and, but mostly I think I
was mostly more concerning
or influence, inspired by Innafrom Day's
"Venegence is Mine."
But even though I was inspired
from all of those films,
but the weird case of that film was
is something was so happy
and I had to deal with that fact first.
And did other serial
killer film, it can be
joyous by many feature
and but, you know, that film was released
years after my film so we should ask him
what he think about that.
(speaking foreign language)

English: 
by Jonathan Demme,
and, but mostly I think I
was mostly more concerning
or influence, inspired by Imamura Shohei's
"Vengeance is Mine."
But even though I was inspired
from all of those films,
but the weird case of that film was
is something was so happy
and I had to deal with that fact first.
And did other serial
killer film, it can be
joyous by many feature
and but, you know, that film was released
years after my film so we should ask him
what he think about that.
(speaking Korean)

English: 
Both of us like the one,
the serial killer film,
"The Cure," directed by Kiyoshi Kurosawa.
Director Kiyoshi Kurosawa
was here in Busan and
we met and had good time.
- Yeah it was a good time, good time.
(speaking Korean)
- Curious for each of you.
Are there genres that
you haven't worked with
that you would like to eventually
that would, you Quentin
like to take a monster movie
or a serial killer movie
and would director Bong
like to make a Western or a war picture.
(speaking Korean)
- The planet earth couldn't
handle my serial killer movie.
(audience laughing)
I would reveal my sickness far too much.
(speaking Korean)
(audience laughing)
- Do you help create
"Natural Born Killers."

English: 
Both of us like the one,
the serial killer film,
"The Cure," directed by Kiyoshi Kurosawa
Director Kiyoshi Kurosawa
was here in Busan and
we met and had good time.
- Yeah it was a good time, good time.
(speaking foreign language)
- Curious for each of you.
Are there,genres that
you haven't worked with
that you would like to eventually
that would, you Quentin
like to take a monster movie
or a serial killer movie
and would director Bong
like to make a Western or a war picture.
(speaking foreign language)
- The planet earth couldn't
handle my serial killer movie.
(audience laughing)
I would reveal my sickness far too much.
(speaking foreign language)
(audience laughing)
- Do you help create
"Natural Born Killers."

English: 
- Yes I did yeah so that is
my serial killer movie, yes.
(speaking foreign language)
- I hate that fucking movie.
(speaking foreign language)
(audience laughing)
- If you like light stuff,
don't watch "Natural Born Killers,"
it fucking sucks.
(speaking foreign language)
(audience laughing)
(speaking foreign language)
- Actually we made a
film about World War II,
the bastards...
"Inglorious Bastards,"
and, but, if I make a film

English: 
- Yes I did yeah so that is
my serial killer movie, yes.
(speaking Korean)
- I hate that fucking movie.
(speaking Korean)
(audience laughing)
- If you like light stuff,
don't watch "Natural Born Killers,"
it fucking sucks.
(speaking Korean)
(audience laughing)
(speaking Korean)
- Actually we made a
film about World War II,
the Basterds...
"Inglourious Basterds,"
and, but, if I make a film

English: 
about World War II, I would
probably make it about
making something about the prisoner camp
and someone who tries
to escape the prison,
just like "The Great
Escape" by John Sturges.
(speaking Korean)
(audience laughing)
(speaking Korean)
- If I want to try to the one gem,
if it can be told in genre,
it can be a kind of romance,
violence kind of film.
And I really want to
try, in the situation,
but if there's one genre I cannot try,
it will be the musical
because I cannot take

English: 
about World War II, I would
probably make it about
making something about the prisoner camp
and someone who tries
to escape the prison,
just like "The Great
Escape" by the Joe Smurch.
(speaking foreign language)
(audience laughing)
(speaking foreign language)
- If I want to try to the one gem,
if it can be told in genre,
it can be a kind of romance,
violence kind of film.
And I really want to
try, in the situation,
but if there's one genre I cannot try,
it will be the musical
because I cannot take

English: 
that embarrassing moment,
suddenly someone turns up singing.
- I wanna see Bong Joon Ho's “Great Escape.”
(speaking Korean)
- The musical.
(audience laughing)
(speaking Korean)
I'm wondering if each of
you have any sense of...
do you feel, and
obviously Quentin you have
two Academy Awards now for
"Pulp Fiction" and "Django,"
but if we think overall the kinds of films
that have been rising
and show in festivals,
it does all seem to be
a certain biased against
what we would call genre
films and favoritism,
showing us more advertly artistic films.
Do you have any thoughts about that?
Do you feel what the reasons
are to this institutional bias.

English: 
that embarrassing moment,
suddenly someone turns up singing.
- I wanna see Bong Joon Ho's great escape.
(speaking foreign language)
- The musical.
(audience laughing)
(speaking foreign language)
I'm wondering if each of
you have any sense of...
do you feel, and
obviously Quentin you have
two Academy Awards now for
"Pulp Fiction" and "Django,"
but if we think overall the kinds of films
that have been rising
and show in festivals,
it does all seem to be
a certain biased against
what we would call genre
films and favoritism,
showing us more advertly artistic films.
Do you have any thoughts about that?
Do you feel what the reasons
are to this institutional bias.

English: 
(speaking Korean)
- I don't know if that's so true anymore.
I mean in my case, I
can't complain at all.
I've done, you know,
three of my genre films
got nominated for best picture
and I won two Oscars on them
so, so far so good.
But also even at that
film festival, you know,
they're filmed, you know,
and I'm not putting these
in categories obviously,
but you know, you look at a catalog
and there's a movie about
the pretend death march,
and you look at the
catalog, and there's a movie
about a little girl who's
living in a Palestinian board
or an old couple living in
Arabia, or something like that.
But then, when you read that
there's Korean cop movie,
you know Korean cop movie shoot 'em up,
I think that's all, those are the screens
that are filled to capacity.
(speaking Korean)
I mean you can make, you know,
there's all kinds of movies
and I actually like all kinds of it but,

English: 
(speaking foreign language)
- I don't know if that's so true anymore.
I mean in my case, I
can't complain at all.
I've done, you know,
three of my genre films
got nominated for best picture
and I won two Oscars on them
so, so far so good.
But also even at that
film festival, you know,
they're filmed, you know,
and I'm not putting these
in categories obviously,
but you know, you look at a catalog
and there's a movie about
the pretend death march,
and you look at the
catalog, and there's a movie
about a little girl who's
living in a Palestinian board
or an old couple living in
Arabia, or something like that.
But then, when you read that
there's Korean cop movie,
you know Korean cop movie shoot 'em up,
I think that's all, those are the screens
that are filled to capacity.
(speaking foreign language)
I mean you can make, you know,
there's all kinds of movies
and I actually like all kinds of it but,

English: 
one of the things why
people go to genre movies
is when they do work,
when they're done well,
they're exciting or
they're funny or they're,
you know, they're the
things that a lot of people,
spend the time with their kids,
associate with going to the movies.
Now, as you get older, you
get more sophisticated,
your taste can change and
you can actually appreciate
a wide variety of movies.
But when we're drawn to genre movies,
we're drawn to that excitement
of those initial movie experiences.
(speaking Korean)

English: 
one of the things why
people go to genre movies
is when they do work,
when they're done well,
they're exciting or
they're funny or they're,
you know, they're the
things that a lot of people,
spend the time with their kids,
associate with going to the movies.
Now, as you get older, you
get more sophisticated,
your taste can change and
you can actually appreciate
a wide variety of movies.
But when we're drawn to genre movies,
we're drawn to that excitement
of those initial movie experiences.
(speaking foreign language)

English: 
- Actually, I don't like the idea
of separating the genre film from a spiel
versus the art house films.
Because, when I make a film, I can't have
going forward to the image that excites me
and the story that excites me.
It is not, you know, I am thinking about
I am going to make a genre
film in the art house.
(speaking foreign language)
I think I simply want to make a film
that can,
stays in house that after
you're watching the film,

English: 
- Actually, I don't like the idea
of separating the genre film from a spiel
versus the art house films.
Because, when I make a film, I can't have
going forward to the image that excites me
and the story that excites me.
It is not, you know, I am thinking about
I am going to make a genre
film in the art house.
(speaking Korean)
I think I simply want to make a film
that can,
stays in house that after
you're watching the film,

English: 
after they are excited about
why they're watching it.
And so like, after you watch the film
the next day when you
are eating something,
and some parts of the film kind of,
they are staged there and,
it's like a, you know, 10 years later
you look at my film and rediscover it
and 20 years later and
it's kind of being lazy
with theater.
And that kind, I think that
kind of takes every director's
strength.
- You know at the same time it's like,
is "Jackie Brown" and
"Mother," are they genre films,
or are they character studies?
I mean "Jackie Brown" has,
rhyme and heist, and
they're exchanging money,
smuggling money,
but you know it has trappings
of a classification genre
but it's not a classification movie,
you know it's a study of those characters
an in depth study of those
characters that actually

English: 
after they are excited about
why they're watching it.
And so like, after you watch the film
the next day when you
are eating something,
and some parts of the film kind of,
they are staged there and,
it's like a, you know, 10 years later
you look at my film and rediscover it
and 20 years later and
it's kind of being lazy
with theater.
And that kind, I think that
kind of takes every director's
strength.
- You know at the same time it's like,
is "Jackie Brown" and
"Mother," are they genre films,
or are they character studies?
I mean "Jackie Brown" has,
rhyme and heist, and
they're exchanging money,
smuggling money,
but you know it has trappings
of a classification genre
but it's not a classification movie,
you know it's a study of those characters
an in depth study of those
characters that actually

English: 
genre films aren't built for,
and same thing with "Mother."
it has a slight investigative
trapping going on,
but it's a story of that woman.
(speaking foreign language)
- Tonight a little bit thinking about
a role that you've played over the years
as a presenter of great many films
from Asia and America
and help to introduce
to the American market
directors like Tikeshi Kitano,
and Kung Wi and so forth.
Can you talk a little bit
about your own discovery
of Asian cinema and some of the filmmakers
who have been significant to you
and particularly any from Korea.
(speaking foreign language)
- Because,
growing up in the '70s as a little boy
and either watching films on television
or going to the theaters,

English: 
genre films aren't built for,
and same thing with "Mother."
it has a slight investigative
trapping going on,
but it's a story of that woman.
(speaking Korean)
- Tonight a little bit thinking about
a role that you've played over the years
as a presenter of great many films
from Asia and America
and help to introduce
to the American market
directors like Takeshi Kitano,
and Wong Kar Wai and so forth.
Can you talk a little bit
about your own discovery
of Asian cinema and some of the filmmakers
who have been significant to you
and particularly any from Korea.
(speaking Korean)
- Because,
growing up in the '70s as a little boy
and either watching films on television
or going to the theaters,

English: 
the films made in other
countries other than England
that would get a lot of play in America
were...
Hong Kong and Taiwan martial art movies.
Japanese monster movies and space movies
and Filipino drive-in films,
and also the Italian, you know, cop,
cop movies and spaghetti western's.
So it was always like
kind of the B-movie genres
that I was exposed to.
But, I loved them
and became a real student of them.
In fact it was magnificent yesterday,
I was so excited because I
was going through the catalog
of Busan and noticed
that they were showing
Chang Cheh's, "One-Armed 
Swordsman" with Wang Yu

English: 
the films made in other
countries other than England
that would get a lot of play in America
were...
Hong Kong and Taiwan martial art movies.
Japanese monster movies and space movies
and Filipino drive-in films,
and also the Italian, you know, cop,
cop movies and spaghetti western's.
So it was always like
kind of the B-movie genres
that I was exposed to.
But, I loved them
and became a real student of them.
In fact it was magnificent yesterday,
I was so excited because I
was going through the catalog
of Busan and noticed
that they were showing
Shang Shei's, "The One-Arm
Swordsman" with Wang Yu

English: 
and Wang Yu has always been
one of my favorite actors.
In America we call him Jimmy Wang Yu.
And,
and to actually go and Shang
Shei has been a hero of mine
and to actually go and
see "One Arm Swordsman"
in 35 millimeter here at the
festival for the first time
was fantastic.
(speaking foreign language)
One of my fav, the Japanese
giant monster movies,
are, one of my favorite
directors is Insero Honda,
who directed those films.
Along with Steven
Spielberg, he's the greatest
science fiction director of
all time because he truly,
in movie after movie after
movie created his own world,
his own alternative
universe where apparently
Japan lost the war but one the space race?
And America's there but they're
kind of a junior partner
and I think his stuff is fantastic.

English: 
and Wang Yu has always been
one of my favorite actors.
In America we call him Jimmy Wang Yu.
And,
and to actually go and Shang
Shei has been a hero of mine
and to actually go and
see "One Arm Swordsman"
in 35 millimeter here at the
festival for the first time
was fantastic.
(speaking Korean)
One of my fav, the Japanese
giant monster movies,
are, one of my favorite
directors is Ishirō Honda,
who directed those films.
Along with Steven
Spielberg, he's the greatest
science fiction director of
all time because he truly,
in movie after movie after
movie created his own world,
his own alternative
universe where apparently
Japan lost the war but one the space race?
And America's there but they're
kind of a junior partner
and I think his stuff is fantastic.

English: 
Korean director of the '70s growing up
who's films I'd seen quite a bit
was a Korean martial arts director
who worked for Golden Harvest
a lot named Hon Phang.
And he particularly worked
with Angela Mauigay.
And movie after movie, "Deep
Thrust," "Lady Kung Fu,"
"Lady Whirlwind," and, but
they all had Korean concerns,
almost every single one of his movies
took place during a
Korean occupation of Korea
by the Japanese.
And usually always starring
Korean fighters in the film,
usually have an Angela
Maui or someone Chinese
who sat there helping them out.
But there's movie, like
"Taekwondo Strikes"
is one of my favorite martial art films.
You know but that's a
situation of Korean director
in Hong Kong, making Korean oriented films
for the Hong Kong film industry.
(speaking foreign language)

English: 
Korean director of the '70s growing up
who's films I'd seen quite a bit
was a Korean martial arts director [sic]
who worked for Golden Harvest
a lot named Huang Feng.
And he particularly worked
with Angela Mao Ying.
And movie after movie, "Deep
Thrust," "Lady Kung Fu,"
"Lady Whirlwind," and, but
they all had Korean concerns,
almost every single one of his movies
took place during a
Korean occupation of Korea
by the Japanese.
And usually always starring
Korean fighters in the film,
usually have an Angela
Maui or someone Chinese
who sat there helping them out.
But there's movie, like
"Taekwondo Strikes"
is one of my favorite martial art films.
You know but that's a
situation of Korean director
in Hong Kong [sic], making Korean oriented films
for the Hong Kong film industry.
(speaking Korean)

English: 
A thing that, in terms of his movies,
seeing them as a young lad at the theaters
before the history books taught me
the inhumane brutality
that the Koreans suffered
under the Japanese, before
I learned it in school,
I learned it in his movies.
(speaking Korean)
- I have a question of Director Bong
and I know we've spoken
before on mutual affection
for great Korean genre
that director Lee Man-hee,
perhaps you have some
other hit genre favorites
from Korean, Indonesian or something.
(speaking Korean)

English: 
A thing that, in terms of his movies,
seeing them as a young lad at the theaters
before the history books taught me
the inhumane brutality
that the Koreans suffered
under the Japanese, before
I learned it in school,
I learned it in his movies.
(speaking foreign language)
- I have a question of Director Bong
and I know we've spoken
before on mutual affection
for great Korean genre
that director Li Van Hi,
perhaps you have some
other hit genre favorites
from Korean, Indonesian or something.
(speaking foreign language)

English: 
(speaking Korean)
- Of course I like the
director, Lee Man-hee,
his films battled with
evil at the stairs of evil.
And the barrier that who doesn't return,
but I want to say my hero
in Korean film history,
it must be the director Kim Ki-young,
the director made the
traditional "Housemaid"
and "The Housemaid" was
restored by Martin Scorsese
and was,

English: 
(speaking foreign language)
- Of course I like the
director, Li Man Hi,
his films battled with
evil at the stairs of evil.
And the barrier that who doesn't return,
but I want to say my hero
in Korean film history,
it must be the director King Li Yung,
the director made the
traditional house made
and house made was
restored by Martin Scorcese
and was,

English: 
and he is the director I most admire
and also I spent my
childhood '70s and and '80s
and they're, but at
the time, there was no,
there was no cinema tank
and there was no DVD's.
And do, it turns out the
times is kind of a my own
cinematique.
(speaking Korean)

English: 
and he is the director I most admire
and also I spent my
childhood '70s and and '80s
and they're, but at
the time, there was no,
there was no cinema tank
and there was no DVD's.
And do, it turns out the
times is kind of a my own
cinematique.
(speaking foreign language)

English: 
- When it was a, there was a,
in television there is
a channel called AFK
and it is American versus
the Korean network,
in this kind of military service,
the network at the time.
And,
and every Friday and Saturday
there is a movie playing
around the midnight so
I kind of sneaked out
and I watched those films
and while my families are sleeping.
And those films are very
sexual, and also very violent,
and it's, most of them are
kind of American B-class film,
the genre films,

English: 
- When it was a, there was a,
in television there is
a channel called AFK
and it is American versus
the Korean network,
in this kind of military service,
the network at the time.
And,
and every Friday and Saturday
there is a movie playing
around the midnight so
I kind of sneaked out
and I watched those films
and while my families are sleeping.
And those films are very
sexual, and also very violent,
and it's, most of them are
kind of American B-class film,
the genre films,

English: 
but I enjoyed the vividness
of the sex and violence
of those films,
and, but as I grow up, I
think about what those films
really was.
And it turns out, I found out later
those films were made by
John Carpenter by the permit
and sometimes the horror
films from the Amber studio
and so, but at the time I didn't
understand English at all,
so I didn't understand the
story either so I kind of go,
reconstruct the story
in my head by myself.
So in a way this kind of
helped my imagination.
- Well and speaking of things
that your films have in common,
one thing that sort of
came to mind immediately
like some of the great
directors of the Golden Age of Hollywood,
you probably would both
have kind of stock
companies of actors that
you like to work with
over and over again.

English: 
but I enjoyed the vividness
of the sex and violence
of those films,
and, but as I grow up, I
think about what those films
really was.
And it turns out, I found out later
those films were made by
John Carpenter by the permit
and sometimes the horror
films from the Amber studio
and so, but at the time I didn't
understand English at all,
so I didn't understand the
story either so I kind of go,
reconstruct the story
in my head by myself.
So in a way this kind of
helped my imagination.
- Well and speaking of things
that your films have in common,
one thing that sort of
came to mind immediately
like some of the great
directors, like golden age,
you probably would both
have kind of stuck with,
company of actors that
you like to work with
over and over again.

English: 
In Quentin's case, of course
Harvey Keitel, Uma Thurman,
Christoph Waltz.
In director Bong's case,
Kim Roi-ha, Byun Hee-bong
and of course the great Song Kang-ho.
Can you talk a little bit about that
and whether you write these
films with particular
people in mind, roles, even
if the screenplay is not there.
(speaking Korean)
(speaking Korean)
- Actually, they understand
without actually talking to them.
Like Mr. Song Kang-ho,
and I worked with him into it films
last time, last ten years.

English: 
In Quentin's case, of course
Harvey Kitel, Uma Thurman,
Christoph Waltz.
In director Bong's case,
Kim Boy Han, Kim Ebong
and Christa Freinke, Song Kang Ho.
Can you talk a little bit about that
and having write these
films with particular
people in mind, roles< even
if the screenplays not there.
(speaking foreign language)
(speaking foreign language)
- Actually, they understand
without actually talking to them.
Like Mr. Sun Gang Ho,
and I worked with him into it films
last time, lat ten years.

English: 
And, I think our conversation is depart,
the quantity of our
conversation is kind of
less and less every time.
Which is you know, in
the body, he comes out,
washing his face and you
know eat and go shooting and,
so I think it is kind of, in a good way,
the conversation kind of
becomes less and less.
(speaking foreign language)

English: 
And, I think our conversation, the part,
the quantity of our
conversation is kind of
less and less every time.
Which is you know, in
the body, he comes out,
washing his face and you
know eat and go shooting and,
so I think it is kind of, in a good way,
the conversation kind of
becomes less and less.
(speaking Korean)

English: 
It is very difficult came to
pronounce from calling this,
and I worked with a hand in parking those,
parking those negro bite
and also the mother of,
the memories of "Mother" and "The Host."
And I think the casting hand in my films
was kind of influenced by
the pointed testing methods
because I believe the
pointed has this method that
hire of casting the actor
who is going to be forgotten
from public,

English: 
It is very difficult came to
pronounce from calling this,
and I worked with a hand in "Barking Dogs,"
"Barking Dogs Never Bite"
and also the "Murder,"
the “Memories of Murder" and "The Host."
And I think the casting hand in my films
was kind of influenced by
Quentin’s casting methods
because I believe that
Quentin has this method that
hire of casting the actor
who is a little bit forgotten
from the public,

English: 
and put them in the spotlight again,
for example, like a John
Travolta and Pam Grier
of "Jackie Brown,"
and actually Byun Hee-bong,
he was kind of in and
out of work of the cinema
for like 10 years, and when
he was working at the times.
And I knew that he had
this power and the presence
that cannot be shown in the screen.
So in the following
contents, casting methods,
I hired, I worked with him,
because like he's a kind of actor
you know already yet not
remember right now very much
and so that is kind of the method I took.
- You know, one of my thought processes
as far as like casting
Bong's talking about
is, again growing up in the '70s,

English: 
and put them in the spotlight again,
for example, like a John
Travolta and Ben Clear
of "Jackie Brown,"
and actually the Claire Ebon,
she was kind of in and
out of work of the cinema
for like 10 years, and when
he was working at the times.
And I knew that he had
this power and the presence
that cannot be shown in the screen.
So in the following
contents, casting methods,
I hired, I worked with him,
because like he's a kind of actor
you know already yet not
remember right now very much
and so that is kind of the method I took.
- You know, one of my thought processes
as far as like casting
Bong's talking about
is, again growing up in the '70s,

English: 
I go to see movies and
see some exploitation
monster movie or film
and some actor used to be a
big name has worked his way
down the ladder 30, 20 years later
and now they're starring in,
you know a giant bear movie.
(Quentin laughing)
And, or you know Farley Granger shows up
in a slasher movie.
Ralph Meeker shows up in an alien movie.
But these are fantastic actors.
And, I would look at them,
and they're fantastic in these movies.
They're doing a really
good job in these movies.
And I was always thinking,
well what if you were to
give them a good script.
What if you were to give them
a real role like the ones
that they had before,
that that could really
sink their teeth into.
And then when I went and
saw Francis Ford Coppala's
movie "Tucker," that
had Martin Landow in it,

English: 
I go to see movies and
see some exploitation
monster movie or film
and some actor used to be a
big name has worked his way
down the ladder 30, 20 years later
and now they're starring in,
you know a giant bear movie.
(Quentin laughing)
And, or you know Farley Granger shows up
in a slasher movie.
Ralph Meeker shows up in an alien movie.
But these are fantastic actors.
And, I would look at them,
and they're fantastic in these movies.
They're doing a really
good job in these movies.
And I was always thinking,
well what if you were to
give them a good script.
What if you were to give them
a real role like the ones
that they had before,
that that could really
sink their teeth into.
And then when I went and
saw Francis Ford Coppola's
movie "Tucker," that
had Martin Landau in it,

English: 
who was like doing the lowest
of the low stuff at the time,
and then all of the sudden
you can see that growing,
you can see a certain light
in his eyes that he's really,
he's being an actor again.
And I thought that you
can always get a good
bang for your buck and feel good about it.
And get something wonderful that yes,
she had been a wonderful actor
but he's had his pick of roles
for the last 30 years, Dustin
Hoffman is a wonderful actor
but he's had his pick of roles.
There's other actors as good as them
who haven't been as lucky.
(speaking Korean)
One little stock company,
that always seemed to be the goal
because all my favorite directors
always had their own stock companies.
Sam Peckinpah, Ulrich, Siegel,
they'd use the same
actors again and again.
But the thing is,
yeah it's always fun to work
with people that you like
and that you know and that you
get to hang out with again,

English: 
who was like doing the lowest
of the low stuff at the time,
and then all of the sudden
you can see that growing,
you can see a certain light
in his eyes that he's really,
he's being an actor again.
And I thought that you
can always get a good
bang for you buck and feel good about it.
And get something wonderful that yes,
she had been a wonderful actor
but he's had his pick of roles
for the last 30 years, Dustin
Hoffman is a wonderful actor
but he's had his pick of roles.
There's other actors as good as them
who haven't been as lucky.
(speaking foreign language)
One little stock company,
that always seemed to be the goal
because all my favorite directors
always had their own stock companies.
Sam Pecenpa, Ulrich, Seagul,
they'd use the same
actors again and again.
But the thing is,
yeah it's always fun to work
with people that you like
and that you know and that you
get to hang out with again,

English: 
but yet, you know, at the same
time in some of those cases
the actors have to be able to do my dialog
and not every actor can do my dialogue
and those are the actors
who's proven that they can do
my dialogue.
(speaking foreign language)
- But one of the actor who can
actually say your dialogue,
is it Christopher or Tino?
- Christoph Waltz.
(speaking foreign language)
- How did you discover him?
- Oh gosh he,
he came in.
I didn't know, I wasn't aware who he was.
He was a German TV actor,
but he'd been acting for 20 years,
but I, you know, really never,
early in his career did a couple of things
but never had really done any
international productions,
mostly just German television.
But, when I wrote that
character of Hans Landa,
because I wasn't writing it
for anybody in particular,

English: 
but yet, you know, at the same
time in some of those cases
the actors have to be able to do my dialogue
and not every actor can do my dialogue
and those are the actors
who's proven that they can do
my dialogue.
(speaking Korean)
- But one of the actor who can
actually say your dialogue,
is it Christopher or Tino?
- Christoph Waltz.
(speaking Korean)
- How did you discover him?
- Oh gosh he,
he came in.
I didn't know, I wasn't aware who he was.
He was a German TV actor,
but he'd been acting for 20 years,
but I, you know, really never,
early in his career did a couple of things
but never had really done any
international productions,
mostly just German television.
But, when I wrote that
character of Hans Landa,
because I wasn't writing it
for anybody in particular,

English: 
the character really
came alive on the page.
And he revealed himself to me.
And the thing,
the most important thing
that he revealed to me,
was that he was a
linguistic genius, on there.
He could speak in any language
that could come up and
just speak it perfectly.
And I knew unless I passed an actor
who was a linguistic genius,
the character on the screen would never be
the character that was on the page.
It couldn't be you had to go learn it.
The person just had to
have the same facility
as Landa has.
(speaking foreign language)
Yeah so we were seeing some
of the best actors in Germany
were coming in, you know, the
Bing Kinsgley's of Germany.
But they weren't able to pull off,
my English dialogue as
good as they could do
the French and the German.
They were fluent, but
they couldn't turn it in

English: 
the character really
came alive on the page.
And he revealed himself to me.
And the thing,
the most important thing
that he revealed to me,
was that he was a
linguistic genius, on there.
He could speak in any language
that could come up and
just speak it perfectly.
And I knew unless I passed an actor
who was a linguistic genius,
the character on the screen would never be
the character that was on the page.
It couldn't be you had to go learn it.
The person just had to
have the same facility
as Landa has.
(speaking Korean)
Yeah so we were seeing some
of the best actors in Germany
were coming in, you know, the
Ben Kinsgley's of Germany.
But they weren't able to pull off,
my English dialogue as
good as they could do
the French and the German.
They were fluent, but
they couldn't turn it in

English: 
to the poetry that it needed to be.
And I had thought at that time
that Landa was not only the best character
I had ever written,
it was the best character I'd ever write.
So I was very precious about him,
and, I was, and when I, I
was starting to get desperate
because I wasn't finding him.
And I was going to cancel the movie.
I was going to pull the plug,
I had like a week longer to go,
where I could still pull the plug
and it would only be my money spent,
I could still get out of it.
And I said we to find Landa this week
or I'm canceling the movie.
And, you know, World War
II ain't going anywhere.
I can do it five years from now.
And then literally, two days later
after I had made that decision
that if we don't find
it this week, it's done,
Christoph Waltz, waltz in to our room

English: 
to the poetry that it needed to be.
And I had thought at that time
that Landa was not only the best character
I had ever written,
it was the best character I'd ever write.
So I was very precious about him,
and, I was, and when I, I
was starting to get desperate
because I wasn't finding him.
And I was going to cancel the movie.
I was going to pull the plug,
I had like a week longer to go,
where I could still pul the plug
and it would only be my money spent,
I could still get out of it.
And I said we to find Landa this week
or I'm canceling the movie.
And, you know, World War
II ain't going anywhere.
I can do it five years from now.
And then literally, two days later
after I had made that decision
that if we don't find
it this week, it's done,
Christoph Waltz, waltz in to our room

English: 
and the minute he started
reading the opening scene,
in English, I knew we
were gonna make the movie.
I knew I had found, he gave me,
I was starting to say
goodbye to my movie inside
and he gave me my movie back.
(speaking Korean)
- Your respective careers.
Django is also the most
successful commercially
of your films.
"Snowpiercer" is a huge success in Korea
and now it goes out into
the rest of the world.
You both started as scrappy independent
and now you're kind of
at the front running
of large scale movies that
are enjoyed by audiences
all around the world.
And managed to do it
without losing any of the
personality we so week
with those first films
that we fell in love with so
I'm wondering if you
could talk a bit about
advancing into the world
of studio filmmaking,

English: 
and the minute he started
reading the opening scene,
in English, I knew we
were gonna make the movie.
I knew I had found, he gave me,
I was starting to say
goodbye to my movie inside
and he gave me my movie back.
(speaking foreign language)
- Your respective careers.
Django is also the most
successful commercially
of your films.
"Snowpiercer" is a huge success in Korea
and now it goes out into
the rest of the world.
You both started as scrappy independent
and now you're kind of
at the front running
of large scale movies that
are enjoyed by audiences
all around the world.
And managed to do it
without losing any of the
personality we so week
with those first films
that we fell in love with so
I'm wondering if you
could talk a bit about
advancing into the world
of studio filmmaking,

English: 
bigger budget filmmaking
without sacrificing everything
that made those really feel
so instinctive.
It seems to be not the easiest
thing in the world to do
when you look at the
careers of a lot of others.
(speaking Korean)
- He said English is spoken on the film
and it was made in, in a
way that made in Americans
speaking English, speaking those words.
But yet, it is not really
the Hollywood film.
It was kind of an English
corporation of generally
with participation of Korean producer
and also the new testament of Korea.
So in a way I was
protected on that element.
And I know major studio in America has,
director has no final thoughts
and also, even from the script writing
and most of the casting,
the studio always had a kind of,
they can impress the director
that was in the period,

English: 
bigger budget filmmaking
without sacrificing everything
that made those really feel
so instinctive.
It seems to be not the easiest
thing in the world to do
when you look at the
careers of a lot of others.
(speaking foreign language)
- He said English is spoken on the film
and it was made in, in a
way that made in Americans
speaking English, speaking those words.
But yet, it is not really
the Hollywood film.
It was kind of an English
corporation of generally
with participation of Korean producer
and also the new testament of Korea.
So in a way I was
protected on that element.
And I know major studio in America has,
director has no final thoughts
and also, even from the script writing
and most of the casting,
the studio always had a kind of,
they can impress the director
that was in the period,

English: 
the position.
And I know the 14 million,
14, 14 million that were,
the budget is amazingly the
big budget in Korea and Asia.
Yet, even yet I was quite allowed to have
my creative independence
and I was not interfered,
I was not pressured.
And in that way I was
very, I consider myself
very very lucky.
- In my case, I think it
all boils down to the fact
that I'm the writer, director.
And I write my own scripts and
so far every time I've written a script,
people wanted to do it.
You know, if I wasn't a
writer and I was just stuck
looking at material from this script
versus that script out there
or trying to find a book
and getting involved

English: 
the position.
And I know the 14 million,
14, 14 million that were,
the budget is amazingly the
big budget in Korea and Asia.
Yet, even yet I was quite allowed to have
my creative independence
and I was not interfered,
I was not pressured.
And in that way I was
very, I consider myself
very very lucky.
- In my case, I think it
all boils down to the fact
that I'm the writer, director.
And I write my own scripts and
so far every time I've written a script,
people wanted to do it.
You know, if I wasn't a
writer and I was just stuck
looking at material from this script
versus that script out there
or trying to find a book
and getting involved

English: 
and developing it and everything,
I think I might navigate it
a little more successfully
than some other people
but I could easily fall
into some of the traps
that they fall into.
But it's easy to kep your
voice when you're the,
when it's always your writing
and it's always about your script
and always about your writing
and that's where it's always starting.
(speaking Korean)
- So I wanna thank so
much Quentin Tarantino
and Bong Joon Ho for
spending this hour or so
up here talking about all of their work.
(speaking Korean)
- And I wanna thank our
wonderful translator.
(audience applauding)

English: 
and developing it and everything,
I think I might navigate it
a little more successfully
than some other people
but I could easily fall
into some of the traps
that they fall into.
But it's easy to kep your
voice when you're the,
when it's always your writing
and it's always about your script
and always about your writing
and that's where it's always starting.
(speaking foreign language)
- So I wanna thank so
much Quentin Tarantino
and Bong Joon Ho for
spending this hour or so
up here talking about all of their work.
(speaking foreign language)
- And I wanna thank our
wonderful translator.
(audience applauding)
