I find the stuff that is exciting to me are the films coming out of Taiwan and Iran and France. So I have the feeling I'm not making the films that American distributors want to make.

Music Box has proven itself in a few short years to be a cutting edge distributor with a sophisticated understanding of both the market and cinema.

I have been very influenced by the director Maurice Pialat, who I continue to be in conversation and conflict with and get inspiration from.

It's easy to make a film, but it's hard to make a career of being a filmmaker.

When I look at the life of those artists I admire, I believe that age isn't a big factor. As long as I have the capacity to accept a wide range of music, and have the ability to produce and make new music, I think I'd be okay as an older K-pop artist.

I feel confident that the work I've put in will make people see me as a music artist before anything else.

In the visual arts, particularly painting, I distrust all those abstractions, those artificial constructions. I have a very simple way of judging them: if I can do them, they are not art.

Doing theater anywhere, especially in L.A., is a constant uphill battle, and there's also the unsexy parts of the business that you're faced with, like getting money. It's a really great thing to do. You feel like you're really an artist when you're doing that and you're in a company of artists.