All language subtitles for 3-Iron.2004_eng

Well, hello. I am Ki-Duk Kim,
a movie director from Korea.

The reason why I came here is...

...since my 11 th movie, Bin-jip...

...is going to be released
in the United States...

...I am here to promote this movie.

The English title of this movie
is 3- Iron...

...which refers to the third golf club.

Well, I'm...

...first of all, very happy to show
this movie in the United States.

I hope the audience will watch
this movie with great interest.

I also hope the audience
will be able to see...

...various aspects of our culture
from this movie.

There are some reasons
why I got involved in this film.

The first reason is...

...one day, when I came home...

...someone had put some junk mail
in my keyhole.

I removed the junk mail
and put in my key.

I removed the junk mail
and put in my key.

While doing so, I suddenly thought:

"Maybe this is how thieves
find empty houses."

So from there,
I started to write this script.

That's how this movie started.

Like this scene...

...the protagonist is the person who
attaches junk mail to empty houses.

He returns two to three days later...

...and if he finds the fliers
haven't been removed...

...he assumes they're away
and lives there...

...for a while
until the owner comes back.

This is how I structured the movie.

Also, this film shows
different aspects of Korea...

...especially various kinds
of Korean residential buildings.

There are luxurious houses,
and there are very old apartments.

There are also very old Korean,
traditional tile-roofed houses.

I wanted to show various characters
who live in those houses...

...and their different daily lives
through this film.

I wanted to show some variety.

I first started with a treatment
of this idea...

...and worked on the scenario
for a month and completed the script.

That is how I began this film.

By the way, the protagonist
now rides a motorcycle.

Somehow, this scene kind of lets you
know he is not an extremely poor man.

So it isn't that he sneaks
into other people's houses...

...because he has no money,
as you see him on a BMW motorcycle.

We come to understand
this character as a thrill-seeker...

...who invades people's houses...

...for the fun of doing so.
And that's how this character is set up.

Actually, this back view
of the protagonist is me.

I actually rode the motorcycle
and did all of the stunts.

The shots of his face
were the actor...

...but the rest, including the race
scenes, were done by me.

That motorcycle is the one
that I currently own.

This film was not funded in Korea...

...but was funded from Japan.

Actually, my films do not grab
many Korean people's attention...

...aside from the hard-core fans
of my films.

But since it takes a huge sum
of money to make films...

...I recently started getting funding
outside of Korea.

As a result, this movie
is the second one I made...

...after I set up my own company.

The first movie that my production
company made was Samaritan Girl...

...and this movie is the second one...

...and was mostly funded...

...from Japan.

This kind of setup, I think,
is quite unique.

Japan didn't invest all
of the money.

Instead, about 50 percent of the total
production cost came from Japan.

Our crew members paid the other half
by giving up their salaries.

It was set up so we would share
in the profits instead.

That was how we set it up
in order to make the movie.

Since the film was made
in that way...

...it's a good example of how you
can make a film on a limited budget.

Recently,
I made a film called The Bow.

That movie was also made based on
the given management system...

...the way our staff members
were part investors.

I think this is very important.

And now, in this movie,
we have an actor showing up.

This actor was not well-known
at the time of shooting.

Sure, after this movie came out...

...he became a famous actor
who appeared...

...in many TV dramas
and got many fans.

However,
before he appeared in this film...

...he was unknown.
Many people barely recognized him.

Well, I saw many actors
in casting for this film...

...but those actors were all busy...

...or they tended
to avoid working with me.

Since my film is low-budget...

...and doesn't have a wide
Korean audience, well, they think...

...my film won't bring
much attention.

Top stars, especially,
do not appear in my films.

I, coincidentally, found this actor
after a long, rough time searching.

Before I met him...

...I even went to Japan to find one and
searched well-known Korean actors...

...but they were totally booked.
In this actor's case...

...I directly met him in person
when he was filming a TV drama...

...and persuaded him to star
in my film. As a result...

...it turned out for the best.
Not only is he handsome...

...but he also is very smart
and understood the film well.

In the end, I thought I might have
a hard time finding someone...

...so I cast him.

Well, and then comes the actress,
right after...

...although she hasn't appeared yet.

She also appeared
in many TV dramas a while ago...

...but she was taking a break
from acting.

I also persuaded her
to participate in this film.

Anyway, there are many incidents
regarding casting...

...but in Korea, you can't
make a film prior to casting.

In most cases, blockbuster,
star system, et cetera...

...are priorities in Korea
for making a movie.

If you don't follow the rules...

...it is impossible to make a film,
and the production would be halted...

...even if we had a good script.

This aspect is similar
to what happens in Hollywood.

So the reason why I pay attention
to casting first when I direct a film...

...is because it makes a dramatic
difference on the budget.

Due to budget constraints...

...many times I hire new actors
and actresses...

...because that is one way
to save money.

And also, not to toot my own horn...

...but since my name, Ki-Duk Kim,
is quite well-known as a director...

...foreign audiences
who watch my films...

...don't seem
to have a problem with it.

I am very fortunate that way.

The same rule applies
to hiring crew for my productions.

Not only do I hire unknown actors,
but I also hire new people for my crew.

Most of the time,
actors, crew, cameramen...

...and producers, et cetera,
reach me through e-mail.

Then I organize meetings,
interview them and hire them.

This is how I managed
this production.

Most important
is the director of photography.

But even for that position...

...I hire someone who has
little filming experience.

The reason why I do this...

...is because he will faithfully
follow my direction...

...due to his lack of experience...

...which makes my supervision
stronger, and I like it.

Therefore, I take charge
of camera angles in my films...

...and the DP is the one
who assists me.

That is how I structure my crew.

Thus far, watching this film...

...there hasn't been
any dialogue yet.

Not having any dialogue
was not my original intent.

When I first wrote the script,
there was dialogue.

However,
while developing the script...

...I gradually removed the dialogue
from the scenes...

...and structured the scenes
with nuance and action.

Now we see the actress appear
in this scene.

This actress's name
is Seung-Yeon Lee.

She acted in TV dramas in Korea
for many years...

...and she is quite good.
Through this film...

...she became a movie actress,
which makes her quite fresh and new.

The role of this character is a woman
who suffers from domestic violence.

Like the protagonist, this character
also doesn't have any dialogue.

However, she brilliantly portrays her
torment without having any dialogue...

...and had good chemistry
with the protagonist.

When you see the film,
you see various pictures of her.

These pictures are to hint
at something.

These pictures presume that she
used to be a nude model or model.

These scenes somehow reveal
that she is a vulnerable person.

Anyway, on one hand,
having no dialogue...

...might make the audience
feel suffocated.

But at the same time, this will make
the audience watch the film closely...

...or perhaps make them
create dialogue...

...of their own while watching it.

They might think:
"If I were her, I might say this."

I think it's interesting if the audience
can use their own imagination...

...while watching the film.

About four of my movies
do not have any dialogue.

For example, the movie The Bow
doesn't have any dialogue.

People don't understand
why I don't put in any dialogue...

...but after they watch my films...

...they say, "It's fine not
to have dialogue in your films."

So for me,
there is no need to have dialogue.

However, at the same time...

...we can't easily say
there is no dialogue in my films.

That is because, in my perspective,
smiling or crying is dialogue.

For me, dialogue doesn't necessarily
mean having a full sentence or words.

Just to have a smile or to cry
is a part of human expression.

I think those gestures
can also be part of dialogue.

Regarding this aspect, it is not true
that my films don't have any dialogue.

This film, you might be surprised
when you hear this...

...took a month for the whole
preproduction process...

...which is the preparation
for the film.

The actual production took 17...
No, 13 days.

That means it took less than
two weeks for the shooting phase.

Then we spent about a month
on postproduction.

So overall, it took about three months
to make this entire film.

When we say it took us
three months, no one believes it.

However,
we filmed the movie for 13 days...

...without having an actual break.

The reason was the camera-rental fee,
per day, was about $ 1000.

That meant if we spent one
or two days more...

...we needed to spend more money.

Besides that, we'd need to spend more
money for lights, labor and so on.

Therefore, by shortening
the length of time...

...we save on costs
and run the shoot smoothly.

The total amount that I spent on
this film, which I will talk about later...

It was my responsibility to make
the film on a limited budget.

Since I was also the producer, it cut
the overall cost of making the film.

When I make a film,
I film scenes sequentially.

If I have scenes from one to 100...

...I film those scenes in order.

Some directors shoot scenes
based on locations...

...but I don't do it that way.

I take scenes step by step
and try to make actors...

...feel their roles in the movie
are their actual lives.

It enhances the level
of real emotions...

...so that actors can express
themselves in more realistic ways...

...and I capture those moments.
This makes my film quite distinctive.

Although it took only three months...

...the effort and energy that we put
into our film is no different...

...than that of any other films.
We were quite focused.

So you can't say
we didn't put in the effort due...

...to the short amount
of time that we spent.

I carefully planned and managed
the production schedule.

Without that, we would've needed
to spend a lot of money.

Therefore, although the whole process
of this movie was, in fact, short...

...I spent the time
quite productively.

However, not this film, 3- Iron,
but the film Samaritan Girl...

...which won the Berlin International
Film Festival award...

...that was done in 11 days.

Above all, the production time
is the one I take most seriously.

Since the majority of postproduction
work is basically editing...

...it is not really hard work.

The most important thing
is how well...

...you shot each scene
during the actual production.

In the case
of the movie Spring, Summer...

In Korean, it's Bom yeoreum, which
was released in the United States...

...although it took a year, the actual
filming time was only 20 days:

Three days for spring, five days
for summer, four days for autumn...

...about three days for winter and
another three days for spring, like that.

The actual filming days
we spent were only 20 days.

People ask,
"How could you possibly capture...

...such a beautiful landscape
within 20 days?"

Well, in order to capture
those landscapes...

...we continually searched
for places...

...and checked the changes
of those selected places daily.

That made the work possible.

Anyway, the production of my films
is related to budget.

In order to not exceed the budget,
I try to fit into the given conditions.

The hardest part
while making this film was...

...first, the lead actor
couldn't play golf well...

...and couldn't ride
a motorcycle well.

Therefore, in most instances
that required him...

...to ride a motorcycle,
hit golf balls...

...I did it, because it would
cost money to get a stuntman.

So I did the stunt work.

Regarding the golf part,
I taught the actor...

...how to play golf for three days...

...and I found
he had a basic instinct for it.

So, what I did was, for wide shots...

...l'd let him play the role.
But the close-up shots...

...I did those.

That was how we shot those scenes.

The difficult part was the actor actually
had to hit the ball with a golf club.

When he actually hits the ball with
a golf club, someone might get hurt.

So for security,
I made a fake ball.

Anyway, the most difficult part
while making this film...

...was when we were involved
with certain action shots...

...and the location problem.

We went location scouting
to find houses.

Most homeowners didn't want
to lend us their homes.

This house here is actually the house
of the male actor's parents.

That house is considered
one of the most luxurious houses...

...but the actor's father happily
allowed me to use his house.

So without spending a penny,
I borrowed the house.

I think I used it quite effectively.

Talking about location...

...I thought showing
various parts of Seoul...

...was the most important part of all.
So I did a lot of scouting for houses.

I tend to do this kind
of location scouting on foot.

I found it interesting that people
in Seoul have different class levels...

...different kinds of houses
and different kinds of daily lives.

Therefore, I wanted to express
these aspects realistically.

And that was what I thought
was important.

Now we hear music.
This music is actually Arabic.

It was sung by Natacha Atlas,
a female singer...

...and this song is one that
I really like from a long time ago.

In the past,
when I made movies like...

...The Isle or Bad Guy...

...I wanted this music.
But the producer didn't like it...

...because the song
sounded too foreign.

The producer thought the music
didn't fit Korean custom...

...so I was unable to use it.

After I started
my own production company...

...I was finally able
to use the music I wanted to...

...so I was able to put this
in the film.

When you first hear this music,
the music seems to be quite strange.

But when you hear it
a couple of times...

...somehow this music fits
into the female character's emotion...

...and harmonizes moods
and scenes, I think.

When I was filming this movie...

...I actually had some disagreements
with the cameraman.

Although the cameraman
was inexperienced...

...he really wanted to devote
his efforts to this movie.

But for me, time is very important.

Each day, I needed to film
at least seven or eight scenes...

...in order to complete the film
within 14 days.

So I tried to set up everything
on time.

But the cameraman wanted
to capture one scene very nicely.

Due to differing opinions,
we had some conflict.

But later, it was resolved nicely.

But since the cameraman had
some great ideas in many ways...

...I don't think we have
any bad scenes.

For example, using double exposure
on this scene...

...or showing the two characters
at the same time...

...was used quite effectively, I think.

When you see this part, you see
the golf ball terrorizes a person.

This scene shows
how the golf ball can be terrorizing.

Since I sometimes play golf,
I thought:

"Maybe this golf ball can be
a tool of violence."

So that is what makes
this scene persuasive.

In fact, the 3-iron
is the most powerful one of all.

It always flies with a straight line...

...and when you are hit by it,
you will get a great shock.

That aspect interested me...

...although people who don't play golf
might not understand me.

For action parts,
I don't like activities...

...that are done man-to-man,
like boxing.

I often spend a lot of time thinking...

...how I can use alternative tools
for action scenes.

So in this case,
the golf ball is used as a tool...

...for expressing
a certain action code.

Anyway, in this movie,
there are various tools...

...or special equipments
here and there.

Basically, we can see the motorcycle.

Then we have a golf club
and a golf ball.

Each time he enters a house,
he fixes what needs to be repaired...

...since each house
always has something broken.

There are scenes of him repairing
or doing laundry for someone.

Think about this way, if someone...

...does something for us,
it makes us very happy.

So while you watch this film...

...the protagonist is not someone
you dislike.

You might first see him as a thief.
But as time goes by, you'll feel:

"I hope this kind of person
drops by my house someday."

So this character
doesn't make you dislike him at all...

...because he is not a thief.

Therefore, I think this character
at least gives warmth to the audience.

When you see this film,
we don't have a lot of crew members.

In most cases,
we actually did the location scouting...

...and actually went to those houses.

Even if the houses were small,
we didn't build sets.

Instead, we set up the camera
to show its authenticity.

You will see a really small house.

Well, the apartments are sort of big,
but there is a small house...

...where an old man died.
It is a really small house.

While filming the house,
the cameraman...

...and other crew members
complained about it, saying:

"How could we possibly shoot
scenes in this condition?"

However, by using a wide-angle lens,
we filmed it.

I thought we needed to portray
that cramped space with authenticity.

When we realistically portray it...

...it will be depicted
as a cramped house.

Now, about this scene, since it costs
money to go to a golf course...

...I am hitting the ball
in this manner.

Hanging a golf ball on a tree,
around my house...

...I sometimes used to play like this.

Although one time, the line broke
down and the ball flew away...

...and I almost hit someone.

So in this movie, there is a scene
where the ball flew and hit someone.

Through that scene, I wanted to show
some ironic aspects of the protagonist.

Even if you did something
with a good heart...

...the result might turn out bad.

This scene explains more
about the protagonist.

Anyway, sets were not
an important part of this film.

Everything was shot on location.

And I did all the editing work
on Final Cut Pro...

...with the editing equipment
that I have.

I do all my own editing since the movie
Spring, Summer was released.

At home, I set up Final Cut Pro...

...on a G5 Apple computer...

...and I do the editing work.

The good thing about this is
I don't have any conflict with the editor.

I can take full charge of my work,
cutting and pasting...

...doing all the other
interesting stuff myself.

So I do all the editing.

In doing so,
I can make different versions.

This part indicates that the female
character used to be a nude model.

While you are gradually
looking at it...

...it becomes a mosaic
and a puzzle...

...then it gives the image
of dismantlement and restoration.

And here, what's appealing...

...is the protagonist
continually fixes something...

...whenever he sneaks
into different houses.

In here, he fixes a clock.

In another place, he fixes a scale.

Another house,
he fixes an electric fan.

Another place, he fixes a stereo.

Through these instances of fixing...

...I wanted to convey
fixing people's minds...

...or healing people's minds
in society.

The actual scale of this movie
is not really big.

In most cases,
the average cost for Korean movies...

...is somewhere
around 3 to $5 million.

I think the reason why Korean
productions spend so much money...

...is because they use
the star system.

Just for the two main characters'
guarantees...

...it costs $ 1 million,
which means I make films...

...without using that system.
So I don't have that expense.

Well, there are many famous actors
that I would like to ask...

...to be in my films,
but it requires a huge guarantee.

Besides, it's hard to work
around their schedule.

However, unknown actors
or actresses are not that way.

They are always on time
and cost less.

The cost of production is less,
which makes for a low-budget film.

So I spend only one-fifth
or one-quarter of the cost...

...of the average Korean production.

The most important thing is,
although the cost is relatively low...

...this film was exported the most...

...especially to Europe
and the United States.

In most cases,
Korean movies are normally sold...

...in other Asian regions
like Japan or Hong Kong...

...but not in Europe or
the United States. But in my case...

...my films are continuously sold
in Europe or the United States...

...and they're sold
in 20 other countries.

So that means although they are
low-budget films, I can make it back.

However,
they're not famous domestically.

My films are not box-office hits.

Because of this aspect,
few Korean audiences watch my films.

When filming, I don't like to reshoot.

When filming, I don't like to reshoot.

I always do my best in each shoot.

So I don't redo scenes
by borrowing other cameras...

...because that also makes me
exceed the budget.

Also, I am not such a perfectionist...

...who makes substantial revisions
for small, tiny mistakes.

Rather, I revise some parts
through the editing process...

...and create something different.

Anyway, while making this film,
I learned many things.

Making a story, writing a script
based on the story...

...and filming scenes
based on the script...

...there are many things
that you gradually realize.

While doing so,
I developed my passion...

...to show something new
to my audience.

Well, I don't know which aspects
of my movie grasp people's attention...

...in places like Europe,
but the most important thing is...

...I heard that my movies are realistic,
although they're not stylistic.

They're not fancy,
but the movies are honest...

...and sincere, and that carries
power to grasp people's attention.

The reason why I got
this feedback is, I think...

...people become interested in
characters and stories...

...and become emotionally involved.

This scene, for example,
has an ironic aspect to it.

It looks like, "Just hit me instead
of hitting the ball."

But that can't happen.

Based on this scene,
the next scene shows...

...that the line holding the ball
eventually breaks.

As a result, somebody gets hurt.
An ironic scene comes right after.

Anyway,
I continually revise the story...

...while filming the movie.
I make little changes to the script.

Because of that,
it made it difficult for our crew.

They are all prepared based on
my original script.

But when I say we are going
to film it in a different way...

...they are either uneasy
or confused.

However, since I am
the one who is in charge...

...I have a right to do so. In order
to be a good director, for me...

...he or she needs to continually
revise the necessary parts...

...even if he or she has
a good script in hand.

I think it's necessary
to have revisions...

...and also to make the crew
follow them.

Because of that,
it is quite challenging for the crew.

As I mentioned earlier,
I don't reshoot...

...or correct scenes.

I think that's the best way
of doing it at the moment.

Well, maybe a few years later,
I might see that mistakes were made.

But at that moment, even if
some mistakes were made...

...I think I did my best.

Therefore,
I don't feel it is necessary...

...to reshoot scenes
while making a film.

In the case of 3- Iron...

...I don't have
a big Korean audience.

That makes me sad. But when
the movie was released in Italy...

...the audience size was
three times that in Korea.

On one hand, I was very happy.
But on the other hand, it felt ironic.

Why do I have a bigger Italian
audience than Korean audience?

During this spring and summer...

...the audience size
in the United States...

...was 10 times more
than that in Korea.

This is very ironic.

What is the reason
for this phenomenon?

Some readers say,
"Some aspects of Orientalism...

...in your movie might be
attracting Western audiences."

But I would like to ask them:

"If you say so, do you think Koreans
honestly know their Orientalism?

What is the standard
or the main point of Orientalism?"

I don't agree with them.

I don't think my movies rely
upon Orientalism.

I might be able to verify this if I survey
this question in the United States.

But just by having a bigger audience
in the United States, I don't think...

...that makes my movie
rely on Orientalism.

First of all, I didn't intend
to make my film that way.

Furthermore, the movie
was successful in Italy...

...and now 3- Iron
is being released in France.

It is hard to express
how I feel on this DVD...

...but looking back, I don't think...
Well, it has been a while...

...since I've watched the film...

...but it seems to have been
worth making.

Now I am in L.A.,
and yesterday I was in New York...

...and tomorrow I continue my tour to
San Francisco and introduce my film...

...and have interviews
with journalists.

Although some Korean movies...

...have been introduced
to the United States...

...I don't think Korean movies
have made a huge impact yet.

Although some say Spring, Summer
captured the basics of Korean culture...

...I think it is a weak start.

I am hoping, instead of using
classic Korean film imagery...

...to show the Korean culture...

...I want to show that feeling...

...using modern sensibilities.

Regarding this,
when we watch 3- Iron...

...we can see a variety of houses...

...and the different stories
within them.

While doing so,
the audience can feel:

"There are many people
who have different lifestyles."

So I am not just showing a movie...

...I am showing the details
of Korean people's emotions.

Korean people's emotions,
ethics or thoughts.

If you see the houses story
by story, you can feel it.

There is a difference between
a person who lives in an apartment...

...and a person who lives
in a traditional Korean house.

This is the house of a boxer.

I put this scene in...

...as comic relief.

The protagonist pretends
to be a boxer...

...but gets punched by a real boxer.

The scene also happens
to be ironic...

...in that it uses comedy to show their
understanding of each other's pain.

The inevitable part that I had...

...to spend some money on
is the night scene.

When you film a night scene,
you need to spend money...

...because you need to use lights.

So while filming,
I tried to go in tight...

...because if I do it that way...

...I only have to film
that particular part.

In doing so,
I can save money on lights.

I try to manage these things nicely...

...but there are some challenges.

I have about 40 crew members.
They all rely on me...

...on what I'm going to do.

Directors always need
to make a decision.

How to photograph,
until what time...

...how are you going shoot
certain scenes, et cetera.

Those are the director's
responsibility.

This is tedious work.

I have so much gray hair
since I began making films.

I feel this work is interesting...

...but at the same time,
I feel it is very hard.

So far, I've made 12 films total
since I made my debut in 1996.

It has been almost 10 years
since then.

I think I worked quite diligently
in order to make those films.

I don't know how many films
I am going to make...

...but while making them,
I think I've changed a lot.

Well, the most important thing is...

...no matter how many movies you've
made, it always starts from nothing.

Even though I won various kinds
of international awards...

...for my previous movie...

...my next movie always starts
from nothing.

I always have to restart,
re-challenge and...

Well, you never know
what will happen tomorrow...

...even if you had some good things
happen today.

So whenever I start a new film,
I always feel new and refreshed.

When you look at each of my films...

...there is no common ground
that links them together.

The movies that were done
in my early days...

...such as Crocodile, Wild Animals,
Birdcage Inn...

...The Isle, Address Unknown,
Bad Guy...

...Spring, Summer,
Coast Guard...

...Samaritan Girl, and so on...

...when you carefully look at
those films, those are all different.

There are three kinds
of films that I make:

Close-up shot, full shot and wide shot.
In the case of 3- Iron...

...it is a full-shot movie. It is a portrayal
of a man within society.

But in the case of
The Isle or Bad Guy...

...they're close-up movies
because they significantly portray...

...the deep inside of human nature,
even the wicked part.

3- Iron, Coast Guard,
are full-shot movies...

...because they depict a person
within society.

Spring, Summer can be considered
as a long-shot or wide-shot film...

...because it shows man
as a part of landscape.

When you see a landscape...

...you see man belonging
as a part of nature.

That's why Spring, Summer is...

...a long-shot film.
That's the system I use.

However, in the case of 3- Iron,
it is a full shot: Man and society...

...and what kind of man
he is within society.

Now, this scene
shows a Korean house...

...a traditional tile-roofed house.

The ironic part is the owner
of this house is French.

Without realizing, Korean people...

...gradually give up
their traditional house.

As a result,
this house fell to a foreigner.

Since I wanted to show
some precious aspects of the house...

...I showed some tea culture...

...some elements of the traditions
of that home in this scene.

Originally, we had a sex scene
in this film.

This part is the actual sex scene.

When you closely look at it,
yes, they are having sex.

However,
they are not having sex via body.

They are having sex by using
their feet. Look at their feet closely.

Moving their feet this way
and that way...

...they express their feelings.

I am showing in this part...

...that while doing so they are
showing some shared moments.

Well, since this was a sex scene...

...both the actor and the actress...

...were totally scared
and were shaking.

"How is he gonna handle this?"
They thought...

...because I didn't give
any previous directions...

...other than just show a sex scene.

However, when I told them
they only needed to use their feet...

...they took a deep breath
and successfully finished the part.

So when we reach
a certain moment...

...the scene is faded out
and switches to the next scene.

In living our lives, ever since
people started to distrust each other...

...the patterns of resident culture
have also changed, I think.

...the patterns of resident culture
have also changed, I think.

Now, these apartments
are the oldest ones in Korea.

They are almost close
to being torn down.

They're very small, too.

I had to look at many
different houses.

Some houses remained
the way they were.

Therefore,
the filming was not too hard.

Although I make films in Korea...

...since not many Koreans
watch my films...

...I have to consider Europe or
the United States as my target areas.

This is the other reason why
I don't put dialogue in my films.

In fact, I thought dialogue would make
the scene more awkward...

...so I deleted it.

Think about it,
when you see this scene...

...if this character says,
"Is the door open?

Oh, nobody's here," that will make
the scene very awkward.

Don't you think?

Anyway, when the audience
just looks at his body language...

..."Oh, did he see something
surprising in there?"...

...they can interpret
their own dialogue.

Even without dialogue, the audience
can understand the nuances.

It would be an endless story...

...once I start putting in dialogue.

Well, I have been making films
for 10 years.

Films that I made earlier
had dialogue.

However, starting from The Isle,
dialogue disappeared.

The female protagonist in The Isle
didn't have any dialogue.

Then, in the case of Bad Guy...

...the male protagonist
didn't have any dialogue.

And this movie doesn't
have any dialogue.

As I mentioned earlier, there are
advantages to not having dialogue...

...but it is really hard
when creating a film.

There are certain moments
where the director...

...has a really hard time
maintaining control.

Due to that aspect,
I feel it's a little hard.

But in spite of the difficulty,
this scene shows...

...the traditional way
of mourning in Korea.

There is a ritual process
for when someone is dead.

This is the Korean funeral ritual.

From this scene,
I feel something lacking...

...about my Korean culture
while watching my films again.

In doing this ritual...

...this scene shows that death
is not ugly...

...rather, the funeral looks
more like a festival.

That's the aspect I'm trying to create.

When foreign audiences see this...

...they will see it with great surprise,
because of the style.

Well, this DVD will be released
in the United States, right?

As a Korean director...

...I can portray aspects of Korean
culture, traditions and customs.

Through my movies,
I can achieve that.

Because of that...

...Americans will be able to
look at Korean culture...

...with new understanding
and observe in detail...

...political and cultural aspects.

I hope our culture will come across...

...with maturity and substance...

...and won't be taken for granted,
but viewed with respect.

I hope the people
who are watching this DVD...

...will be able to find something good
about Korean culture...

...whether it's through this film,
Spring, Summer...

...or other projects
from Korean filmmakers.

I have never promoted
my country to this extent...

...but while releasing this DVD
overseas for the first time...

...I honestly hope
that people can find...

...something good about our culture.

If this is taken as an interview...

...I think this DVD will
show my sincerity.

While in New York, I did interviews
with The New York Times...

...New York Post,
Boston Globe, and so on.

But their questions were very
unstructured...

...and somewhat fragmented.

They asked questions like, "Why did
you name the movie 3- Iron?"

This is the first time I've been able
to express myself so honestly.

This is an opportunity
to give in detail...

...my entire process of filmmaking.

I can express my real feelings...

...to the viewers of this DVD.

Hopefully, they'll gain a better
understanding of my movie.

Surprisingly, I came across
some of my fans here in the U.S.

Some people had seen Bad Guy,
which is currently in limited release.

In the past,
some had seen The Isle.

Well, when people watch my films...

...I can guarantee they will
become addicts of my films.

Even if you have a problem with my
films, they can become addictive...

...because some aspect of it
demands your attention.

I don't know exactly
what that may be.

My films do not deal
with the conventional norms.

If you look at this scene,
it's violent.

Like with Crocodile or Bad Guy...

...my films are sometimes
very violent.

In this scene, a man slaps another
man in the face several times.

This looks very violent.

Anyway, I've been a victim
of violence many times...

...by the police and in the military.

When I was in the navy,
I experienced...

...some corporal punishment.

Getting hit is not the best thing...

...but it's not such a bad thing either.

I think this is a characteristic...

...of the Korean culture.

I think my film reflects this.

Korean culture is difficult
to explain...

...and may be hard
to understand at first.

The more you see of it in detail,
the deeper you want to go inside.

It's kind of like my films. It may
appear violent on the outside...

...but inside,
you see the human aspect of it.

Is there any real distinction
between good and bad?

This film, 3- Iron...

...when you watch it closely,
it is about fantasy.

All the characters may look real,
but in fact, they're not.

For example...

...Tae-Suk may not exist...

...or Sun-Hwa may not exist.
Either way, this film can still exist.

We all get hurt
during the course of our lives...

...and we'd all like someone
to save us.

Aside from wanting to be saved
through God...

...we'd all like to be saved
in our everyday lives.

When Tae-Suk
enters an empty house...

...he finds a battered woman
and wants to save her.

In that sense,
he could be a real person...

...and she may not exist,
or vice versa.

Sun-Hwa could be the one fantasizing.
Since she is so miserable...

...she wants to be rescued
by someone like Tae-Suk...

...who always searches
for an empty house.

She, as a real person,
might have a desire to be rescued.

On the other hand, it could be
the fantasy of Sun-Hwa's husband.

They used to be in love,
but now the love is gone.

He fantasizes
about getting that love back.

I consider my movies
to be half abstract.

I've always thought this
about my movies.

I like making movies that
are on the border between...

...reality and fantasy.

In the subtitle that appears
at the end of this film, it says:

"It's hard to tell that the world we
live in is either a reality or a dream."

This is actually how I think.

Who is drawing the line
between reality and imagination...

...while we are doing
this commentary?

What about the people around us?
The person who's recording all this.

It is hard to distinguish
between reality and fantasy.

Our lives are not always driven...

...by physical acts alone.

Can you believe it 100 percent
when someone says they love you...

...even if this is the person you love?

I think the line between reality
and fantasy is very thin...

...and they are bound to each other.

This movie was quite
an adventure for me.

Very shortly,
you'll see the ghost scene.

While filming it, I often wondered
how convincing the scene would be.

There is a scene in the jail
coming up...

...that I like to call "sports motion."

You can hide yourself
from the world.

This film is divided
into three chapters.

The first is sneaking into homes
with the possibility of getting caught.

You can't see the owners
because they're not home.

That is the first chapter.
In the second chapter...

...the protagonist practices
being a ghost while in jail...

...he practices trying to
hide himself somehow.

That scene shows
his process quite elaborately.

There are three steps
in his process.

First, the protagonist tried
to hide himself...

...by hanging on the wall
or hiding somewhere.

But hiding completely
is impossible.

Second, he calculates
a 180-degree space...

...and uses that 180-degree space...

...and hides himself there.

The third step is
he draws an eye on his hand...

...and assumes that the eye
is someone's head in front of him...

...and practices hiding himself
from that person.

I joked that you can
get to be a ghost...

...if you continue to practice this.

I've never tried it myself,
but the important thing is...

...movies are about imagination.
Through scenes like this...

...I hoped this movie would be seen
in a more realistic way.

This shot is ironic. The protagonist
himself used golf to terrorize...

...but here he is being
terrorized by a golf ball.

This is where the movie
kind of becomes a fantasy.

When he goes to jail,
it's hard to tell...

...if this person is really alive...

...or if he died from the golf balls.
It's ambiguous.

Just the sound
of a golf club swinging...

...is pretty horrifying in and of itself.
It's pretty intimidating.

I wanted to create that image
while filming this part.

My favorite part is the jail scene.

While he's doing
the sports motion...

...the protagonist wants
to hide himself from people...

...his surroundings and society.

This kind of scene intrigues me.

This scene shows a mental aspect
and something possibly psychotic.

This is the scene
I was talking about earlier.

It's hard to tell if it's real or not.

We can hear the sound,
but the golf ball doesn't exist.

But we know he's playing golf
through his motions.

The scene is gradually changing
to fantasy.

Even this person
is acting like the golf ball exists.

So he tries to get the ball back.

This kind of action
creates the feeling of fantasy.

It brings up the question of whether
the golf ball really exists or not.

In doing so, the movie
takes on a different tone.

Like I mentioned before...

...I have been directing
films for 10 years.

The more I get involved in the world
of film, I ask: "What is a film?

Why am I making films?

What am I trying to express
through my films?"

These are questions
I often ask myself.

Some say I am a cinema kid,
others say I'm a manic fan.

These are words that
describe people...

...who are obsessed
with everything cinema.

Sometimes they say film
is like a journal.

Some would say it is a life...

...or a visual aid to describe reality.

But I think it is a process to help us
find out more about our own lives.

It's a way of understanding
various aspects of human life...

...through a progressive process.

I hope my audience
will feel the same way.

Film, I don't think,
just provides the vehicle...

...for how people justify
social morality or social norms...

...or the one that always
determines a winner and a loser...

...or the one that always
ends with good triumphing over evil.

I would like to give it substance too.

I want people to realize this.

I often wonder whether
people live in that boundary...

I often wonder whether
people live in that boundary...

...between reality and fantasy.

I really wanted to convey
this feeling in my film.

It's because of this that certain
scenes come out the way they do.

Therefore, while
continuing to make films...

...I will continue thinking about
how to create new images.

And through that relationship...

...I would like to create something
completely new and original.

This film, 3- Iron...

...through unique actions,
poses a question:

"Is it possible for a person
to hide himself from someone?"

My other movies, like Bad Guy,
or my current feature, The Bow...

...have different elements
that create different images.

I hope that all my films can be
differentiated...

...from all the other films
that are out there.

I also hope people realize
that films like mine can exist.

While conducting
several interviews for 3- Iron...

...I heard that I really made a film.

That is what cinema is all about.

Compared to some realistic movies,
mine is something different.

What is the distinction
between film and the real world?

I think my film kind of
answers this question.

I have also said this in many
of my interviews.

The life in which we live...

...when we look at it closely...

...there may not be any problems...

...but it is constantly changing
according to various situations.

Well, if the sea is always clear
like crystal, that wouldn't be right.

The sea has various forms
because of the wind and waves.

When you watch my movies,
like The Isle...

...Spring, Summer,
Autumn and Winter, or The Bow...

...you will see lots of water.

That is because water
can be a representation...

...for various things in our lives.

In this regard, my films are simply...

...as I mentioned earlier...

...trying to blur the distinction...

...between good and evil.

That logic doesn't apply to me.

I think good and evil go together,
and through this process...

...my films can create
something new.

The logic behind my films is neither
horizontal nor vertical.

I believe a small,
horizontal society exists...

...in a big vertical world.

In other words, my ideal world...

...is a society where each individual
has his own voice...

...and these individuals are treated
equally without discrimination.

On the one hand, society is getting
more and more horizontal.

Under power, people start
losing their voices.

We are now living in a society...

...that doesn't respect independence.

This logic is applied
by the United States...

...and powerful European countries.

In furthering globalization...

...these countries are making
the whole world horizontal.

When you look
at this aspect closely...

...it is totally one-sided
and generalized.

I hope my films represent
the voice of the minority...

...and preserve
its traditional elements.

Through my work...

...I hope the whole world
can be vertically equal.

I keep this idea in my mind
when I make most of my films.

And I think this idea makes my films
somewhat different than others.

In Korea...

...I am recognized
as being the director...

...that is often being noted
in international awards.

As a Korean director,
I became established...

...in a very short span of time.

I've been invited to most
international film festivals.

Since my very first film...

...l've been going to these
international film festivals.

My last five or six films have been
entered in the Cannes, Venice...

...and Berlin film festivals.

Because of that, people call me
the "film-festival director."

But the reality is,
it's not easy to enter these festivals.

There is a lot of competition
among well-known films...

...and only a few are selected
from among those films.

So it's a great compliment
in that regard.

Film festivals
are very important to me.

Through these festivals,
my name became well-known.

The producers,
filmmakers and reporters...

...began to pay attention to me.

As a result,
it paved the way for me...

...to distribute my films in Europe
and the U.S.

I really appreciate being recognized
by these international festivals.

These kinds of
international festivals actually...

...don't celebrate the star system
or blockbusters.

Fortunately, these festivals try...

...to recognize well-made,
original films.

When you see this scene...

...it shows Koreans' sentiments
and attitudes...

...toward their own traditions.

It shows that right here.

Who, in this age,
would just allow some stranger...

...to walk in and sleep like that?

I wish we lived in this society.

I wish we'd realize at the door
that this stranger is not a criminal.

I hope people can just take a rest...

...without considering
other people's eyes.

These kinds of social aspects,
to me...

...are another way
of viewing our lives.

Nowadays, our society creates such
a thick barrier between people...

...making people feel scared
and turning people against each other.

There's always a huge lock
in front of our gates.

I wish people wouldn't be this way.
Maybe I am too naive...

...but I think maybe people
can share their time and space.

I hope my film can provide enough
space to share common feelings.

I've talked about the international
film industry...

...and many other things. I may have
touched on some sensitive issues.

But I would like to talk
about my feelings...

...on the Hollywood system
and films.

I like American films and directors...

...like Steven Spielberg,
Martin Scorsese...

...Francis Ford Coppola,
Woody Allen.

I enjoy their films.

But there are a lot
of running themes...

...films that deal with the FBI
or NASA, or action films.

Nowadays, Korean people
don't watch Hollywood movies...

...like they used to
because they've reached the limit.

Hollywood movies are either
about the military...

...the FBI, the police,
seizing power...

There is always authority
and superiority underneath.

The protagonist is always
solely into materialistic needs.

Heroes in those movies
are always depicted...

...as being able to
resolve problems...

...but in reality,
that doesn't happen.

In spite of unrealistic portrayals...

...most Hollywood movies
sweep over the whole world...

...and dominate people.

That is the reality
that we have so far.

In Korean movies,
there is a screen quota system.

This is a regulation
requiring people...

...to see a certain amount
of Korean movies.

The United States was actually
pressuring against this.

The reason why they
are against this rule...

...is because they consider it
a violation of free competition.

If that's the case, I'd like to ask
them what the best way is...

...for a minority group
to save their own culture.

One way to solve this problem
is through the mass media, like films.

In order to save minority culture...

...I think people need to set
a regulation on the United States...

...the country that dominates others
through capitalism.

If we don't do it, then everything
will be dominated...

...as one narrow culture.

Diversity is the key to preserving
the minority's right.

Through theatrical performances,
poems, music and so on...

...the minority culture can flourish.

I personally think
the United States...

...should at least give
some consideration to that...

...if they really understand
what free competition is all about.

Anyway, I think there are positives
and negatives about Hollywood films.

There are many
famous Hollywood directors...

...and at the same time, their movies
tend to go for commercialism.

I'm against this approach
of the Hollywood system.

Nowadays, FBI and
police stories are...

...slightly out of fashion
in the world...

...in the world of cinema.

Therefore, Hollywood has remade
many Asian films...

...like The Ring
or other Korean films.

This phenomenon indicates...

...that the Hollywood film industry...

...is trying to find a different formula.

Many Asian directors
are being introduced into Hollywood.

Asian stories such as Kill Bill
are being made.

Audiences are able to watch
genres like Asian martial arts.

The Asian element
is being embodied.

If you see Tom Cruise's
Last Samurai...

...it is a mixture of Asia and America.

...it is a mixture of Asia and America.

In doing so, the film industry
is being converted.

But I don't think this is an
honest approach.

To me, those movies
seem so fake and materialistic.

Instead of showing
some humanistic aspects...

...these movies are only trying
to make money.

The movies seem to be made
specifically geared towards that.

I think Hollywood directors,
and the industry as a whole...

...when using Asian elements
or themes...

...need to carefully apply them,
and with good intent.

When doing a remake
of an Asian film...

...instead of just using big stars
for commercial success...

...they need to have an
honest approach.

That is what I think.

This is all I'll say about
the current trend in Hollywood films.

I often think about where
international film is going.

Commenting on 3- Iron
is actually limiting.

It's not that broad, since it's only one
film, and as I watch certain scenes...

...I talk about the
entire world of cinema.

Here, we see the protagonist
who has become a ghost.

He has successfully
tricked everyone in jail...

...and successfully hid
from everyone.

And in doing so, he goes back
to every home he's invaded.

In the earlier scenes...

...all the homeowners
were on vacation and so on.

But now we see that he can enter...

...these same homes
without being caught.

It's like this until the end.

This part is to appeal
to the audience...

...and sway them.

This scene depicts
the protagonist terrorizing...

...the policeman who tortured him.

Through this scene,
it brings catharsis to the audience.

The audience wants the protagonist
to take revenge on the policeman...

...as if we ourselves
were the ones who were victimized.

There was a funny incident
when filming this scene.

The golf ball
hits the wall and then him.

So no matter where the policeman hid,
the ball kept finding him.

I attend many film festivals
in Europe and the U.S.

Tomorrow, I'll be at
the San Francisco Film Festival.

The types of films
that are showcased at festivals...

...are more artistic than commercial.

That is fortunate.

I think you won't be able
to see as broad a spectrum...

...if you only watch
commercial films.

Through movies that are played
at film festivals, like my films...

...smaller films are able to come out
on the market.

It is an entryway.

I am lucky that there
are festivals like...

...Cannes, Berlin, Venice...

...Shanghai movie festivals,
Tokyo festivals, and so on.

A variety of movies that are
done by more independent directors.

It shows that films that
aren't commercial can exist.

That is how the system works.

Due to this aspect...

...European movies are introduced...

...to the American film market.

In New York, Lincoln
and Angelika theaters...

...show many good movies.

Same thing happens in L.A.

I think this aspect is very important.

If there were no theaters
like the ones I mentioned here...

...I don't think my films
would be able to be released.

Regarding this, I think there
is a future for our movies.

I often think about
when the right time is...

...to retire from making movies.

I think about this a lot. Even recently,
I've thought about this many times.

The Bow is my 12th movie.

That's a dozen.

One year consists of 12 months.

Thinking about it that way, I thought:

"It would be nice to neatly retire
after this movie."

That thought came to mind.

I don't know whether I will go
for the 13th movie or not.

I am still debating this.

The reason is, we get tired
of seeing the same actor.

Once-loved actors get tiring to watch
after seeing them repeatedly.

When you constantly see them,
it seems like they only see money.

I think movie directors
are also in the same spot.

If I made films without changing
my pattern, people should get bored.

Because of this thought,
I contemplate quitting the business.

The important thing is...

...I hope people will continue
to watch my films and say:

"At least Kim's films
are worth watching."

If I keep creating something new,
I want to hear that.

This scene shows how...

...the protagonist sneaks into
each house without getting caught.

Wherever he goes,
he won't get caught.

The reason for this is to persuade
the audience in the final scene.

The audience will notice that the
protagonist tricks others perfectly.

Toward the end, the protagonist will
go to the female character's house...

...and live there for a long time.

You'll be able
to believe this can happen.

In some ways,
it's a way to trick the audience.

Anyway, I think movies need
to continue even if I don't make them.

It's an important part of culture.

Film, I think,
is an important element...

...of breaking down our stereotypes.

Not all movies,
but certain movies can do that.

I am very happy to be making
a living as a director.

I tried many different things.

I worked at several factories.

I didn't go to school much.

My current résumé shows that
I graduated from elementary school.

When I was working at a factory...

...my supervisor said, "Don't be sad
that you didn't go to school.

Working here can be
an opportunity...

...to study life and to establish
a philosophy.

Through this work experience,
you will learn a lot."

His words still comfort me,
but unfortunately...

...Korean society still cares about
which school you went to.

Many people think higher education
will do everything for them.

Since I don't have
a higher education...

...I suffered greatly
from an inferiority complex.

However,
when I began to make films...

...I started wondering if I would be
making my films...

...from different angles
if I had a higher education.

I now appreciate my past.

When I received
the director's award in Berlin...

...I said, "I appreciate my past."

I appreciated that I had that past.

I am able to express my thoughts
the way I do...

...because of my unstructured past.

The thoughts I have
become stories for my films.

By capturing those thoughts on film...

...it becomes a movie.

This is now the last scene.
In this last scene...

...the protagonist has become
a ghost completely.

Actually, he doesn't exist,
or doesn't exist anywhere.

In doing so, he gradually
becomes the owner of the house.

On one hand...

...the audience can easily
miss something. I'll explain here.

What will happen to the husband?

We can only sympathize
with the protagonist.

We only focus on the person
who saves the victim...

...not so much on the victim.

I started to be concerned at the end
of the film: "What about him?"

Well, what am I supposed
to do with the husband?

He is a fool. His wife was taken
by the protagonist...

...his own house was stolen
by the protagonist too.

Well, I don't want to be like that.

My greatest sympathy
goes out to the husband.

That is the reason why I made
this film as a multi-layered narrative.

This can be a dream
by the husband...

...Sun-Hwa or Tae-Suk,
three different possibilities.

Well, this is the scene.

The husband comes out...

...she says, "I love you."
But think about it carefully.

This woman, Sun-Hwa...

...actually,
Tae-Suk isn't behind her.

Only her husband is.
If this is a dream created just so...

...he can just hear her say
"I love you"...

...we'd have to reevaluate
the husband objectively.

Does it start and end with
the husband as the protagonist?

Then the film will turn
out to be different.

The audience might not agree
with me...

...but that is how I view the film.

I hope my film can be viewed
in many ways.

Based on the viewer's background
and experiences...

...things can be seen differently.
That's what I want.

This film has three endings.

Well, at least three,
when you closely look at it.

Among these three, the audience...

...will choose the one
that they can relate to the most.

Anyway, this movie
was such an adventure for me...

...and this ending is the best, I think.

I wanted to make this
the movie-poster shot.

But in Korea,
this wasn't the poster shot...

...because the marketing people
had their own ideas.

But in the U.S.,
this is the poster shot.

It's the one with the three-shot.

I really like the U.S. Poster version.

I took a couple back to Korea.

I hope the U.S. Audience
will enjoy this film.

Not only enjoy it...

...but also understand
the meaning behind it.

This is not just a film to enjoy...

...but to ask ourselves:
"Am I living in reality or a dream?

Are there people around me
who think this way?

Are there ghosts living among us?
Are there believers?"

I hope they question many things
and feel something different.

I have many thoughts
when making a film...

...and I think it's great
I have these thoughts.

I think this is also
another aspect of films.

The movies that have been
made in the past...

...have a distinct hero and goodness.

A do-gooder with a
real human element is key.

However, my film is different.

At least, I believe so.

The running time of this movie
is about 90 minutes.

I've been saying whatever popped into
my head: My perspective on films...

...my views, thoughts
and emotions on everything...

...and my perceptions about
the world of film.

A movie is all about characters...

...and the many layers
of a character.

When characters collide
and have conflict...

...that becomes a story.

I hope more new stories come up...

...than repetitive ones.

We don't know if this character
really exists.

I can create this character
in real life...

...just imagine someone behind me.

That thought makes me very happy.

My films do not make any sense.

I make films so I can make sense
of something that didn't.

While watching this movie,
we see many images.

Even I can't comment on all of them.

The image of that photo,
why is it back there?

Why is the scale at zero?

I believe the weight
of our souls is nonexistent.

So both of them
have been dreaming...

...because the scale reads zero.

"It's hard to tell that the world we
live in is either a reality or a dream."

We constantly encounter obstacles...

We constantly encounter obstacles...

...we have to face alone.

Instead of blaming someone else
for making us miserable...

...maybe we are the ones to blame...

...for our own misfortunes.

Instead of not having any belief
in ourselves...

I think underestimating ourselves is
what makes us feel miserable.

We need to motivate ourselves.

I think there are two categories:
A subjective and an objective me.

If I don't differentiate the two me's...

...there is no way I can
look back at myself.

The former is just me.

The latter is the one
that constantly...

...looks at me from the other side.

This is the main point of the movie,
or the ghost, if you will.

There are many different ways
of looking at myself.

I used the characters in this movie...

...to express my thoughts
on our existence.

I had this in mind
when making this film.

I'm honored this will be seen
in the U.S.

Given this opportunity,
I hope you were able...

...to understand me a little better.

I'd like to thank the distributor, Sony
Classics, and everyone involved...

...in putting this DVD together.
I hope everyone will have a happy life.

It was a pleasure to be with you all.
Thank you.