It is known that you are shuttling between Korea and China these days. What do you think of Korean directors’ advancement into China and Korea-China co-productions these days?
Excellent film planning now defies nationalities. It is nice for Korean filmmakers to actively make films in China or Japan. The place does not matter. The experience of working in different places will inspire filmmakers a great deal. If Korea steadily continues to develop cultural exchanges with China, this will serve as a big motivational tool for both of us. At the same time, it is imperative for the Korean film industry, as it considers co-production with China, to study the growth of Chinese cinema. I think this is essential in order for Korea to devise measures about ‘Chaliwood (China + Hollywood)’ at the government level.

 
Is the growth of the Korean film market an important factor towards increasing Korea- China co-productions?
It is natural for the Korean film industry to look towards the birth of a mega hit film, which draws over ten million viewers, as a sign of the strength and growth of the Korean film market as well as the capital in Korea’s film business. But now it is time for us to expand our scope. We have to check Korean films’ scores not only at the Korean box office but also at the European and North American box offices. It is time to take aim at bigger markets through a wider perspective.
  
Would you tell us your view on Chinese cinema which is in the midst of a rapid growth?
Hollywood films accounted for 50% of the Korean market of the 1970s and 1980s. In those days, films from Chinese-spoken regions, led by Hong Kong, enjoyed a market share of over 20% while a 17% share was taken by Korean films. At present, Chinese cinema has secured its position to be able to produce world-class blockbusters after Hollywood as it has significant capital and a big market. Now ‘Chaliwood’ is growing exponentially to such an extent that it can mesmerize not only Chinese audiences but audiences around the world.
  
You took part in the The Bad Man Must Die, a Korea-China co-production as one of the two co-executive producers. Chinese director FENG Xiaogang is the other coexecutive producer. SUN Hao is directing the film, which stars Korean actors SON Ye-jin and SHIN Hyun-joon and Chinese actor Bolin CHEN. The shooting of the film kicked off on Jeju Island in Korea on March 28. What led you to this project?
I have maintained a connection and camaraderie with director FENG Xiaogang for a long time. FENG is a friend of mine in the film industry and I put him on a pedestal as a director. FENG and I have been talking about our wish to make a Korea-China coproduction through good planning and to release it in Korea and China at the s ame time for many yers. Director FENG proposed to me that I work as an executive producer of The Bad Man Must Die which is being shot on Jeju Island, directed by SUN Hao, who worked under FENG as an assistant director, and features Korean actors. I accepted the offer since the film’s elements were enticing and I would be able to work with FENG.
  

It is said that FENG and you began to talk about a Korea-China co-production project from the days FENG was making The Assembly (2008).
FENG watched Taegukgi: Brotherhood of War (2004), while preparing for The Assembly. After watching it, FENG proposed a coproduction project to MK Pictures. Moreover, he asked for the help of Korean technical staff. At that time, I recommended Korean special effects, special makeup and sound technology staff. Since then, an increasing number of Korean special effects companies have taken part in Chinese film projects.
  
You are planning with Wanda Cinema Line Corporation, a major Chinese film investor and distributor. Would you walk us through what plans are being hatched now?
Fighting with the sky (working title) has a very attractive project. Up until now, we have signed an agreement on planning and development only. When the screenplay is ready, we will decide who will direct the film.
  
What do you think the Chinese film industry want to obtain by way of Korea-China coproduction?
Of late, shuttling between Korea and China, I had interviews with some Chinese media. There were many media companies who were seeking advice on growing the Chinese film industry. The answer is the guarantee of liberated content. Unless creative freedom is guaranteed, they cannot produce content that will satisfy audiences on the sole merits of big capital. What China wants through collaboration with Korea is Korea’s planning, story and technological prowess. Korean cinema comes in various genres and its planning is excellent. China has pushed forward with collaborations with Korea since Korea has the technological excellence that can enhances films’ qualities.
  
Have you decided on your next project?
No, not yet. A screenplay was being written before the shooting of Salut d’Amour . I will decide whether or not I will direct the film after reading it.