I just hope that in some ways, 'Minari' can pave the way for other filmmakers, other actors, other projects that maybe don't fit within traditional boxes - if it helps those films get made in the future, I'd be so thrilled.
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I like the idea of all of us looking at the world with less of an emphasis on national borders and with more of an emphasis on shared humanity.
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My daughter was five when I was writing 'Minari,' very much close to the age of David. And I was about to turn 40, which was the age my dad was when he decided he was going to start this farm in Arkansas.
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For many years, I was trying to catch up and fit in a little bit more with that New York artsy intellectual space.
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I remember my roommate was watching 'Seven Samurai,' and I just couldn't fathom why anybody would watch it.
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But I kind of reframed my thinking, where I don't feel like filmmaking is what defines me anymore. Like, I feel like I'm much more defined by my family and other things in life that, that I feel are much deeper to me.
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I just feel like the garden is a place where you can explore humanity quite deeply.
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I didn't set out to win an Oscar, of course, but to be in this conversation, it's somehow an honour and a strange life experience as well.
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Early on... I did notice that a lot of people had the tendency to do their own story starting out. I felt like I was never interested in that, and I wanted to tell stories of people who are very different.