On a rainy day in Seoul's Garosu-gil, Colin talks with Marc Raymond, film scholar, teacher at Kangwoon University, and author of Hollywood's New Yorker: The Making of Martin Scorsese. They discuss how much you can learn about Korean life from Hong Sangsoo movies; what Hong has in common with Martin Scorsese; how the two directors relate differently to their "outsider" status; the international code Hong seems to have cracked, and why the rest of Korea covets that; Hong's probable place in the Criterion Collection (or at least the Eclipse Series); how, exactly, he would describe what a Hong Sangsoo film is; the rarity of the intersection between talky relationship cinema and formally experimental cinema; the importance of drinking, smoking, and improvisation in not just Hong's method but in Korean culture itself; how he first discovered Hong, and how he discovered Scorsese shared his enthusiasm; how Hong illustrates the breakdown of the social rules Korea doesn't expect to break down; why his Korean wife laugh at different moments in the movies than he does; whether straight-up critiques of Korean masculinity have remained central to Hong's work; Hong's less-discussed critique of Korean femininity; whether he finds, given his experience with Korean life, that Hong's criticism of Korean society hit the mark; how Hong's films have become linguistically easier as he has gained larger international audiences; why, between degrees, he came to Korea in the first place; his early impressions of the familial attitude and reliance on authority that penetrated all environments; the reductiveness he dislikes in the scholarship of both Korea and Scorsese; where his native Canada's lack of popular cinema drove him; whether Koreans expect him to exemplify Canadian virtues; the hockey comedy that outgrossed Titanic in Quebec; what it felt like to go from a huge, thinly populated country to a small, thickly populated one where his first apartment complex had more people than his hometown; the importance of a career that allows you to pick and choose where you go and when in a big city; what films, besides Hong's, have helped him integrate into Korean culture, like Oasis and Secret Sunshine; the difference between Korean melodrama and other countries' melodrama; who we can call "the Korean Martin Scorsese"; and whether Canada has, or could use, a Scorsese of its own.