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On a rainy day in Seoul\'s Garosu-gil, Colin talks with\\xa0Marc Raymond, film scholar, teacher at Kangwoon University, and author of\\xa0Hollywood\'s New Yorker:\\xa0The Making of Martin Scorsese.\\xa0They 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"\\xa0status; 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\\xa0Canada\'s lack of popular cinema drove him; whether Koreans expect him to exemplify Canadian virtues; the hockey comedy that outgrossed\\xa0Titanic\\xa0in 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\\xa0Oasis\\xa0and\\xa0Secret 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.