Famed for such violent shockers as 2003’s Oldboy, Korean filmmaker Park Chan-wook has thrown his audience a curveball with his latest effort – the wonderfully titled I’m A Cyborg But That’s OK (shortened to I’m A Cyborg in the UK). A bizarre fantasy opus set in a mental asylum, the plot follows the adventures of a young girl who is convinced that she is a robot - with the movie subsequently weaving in and out of her magical, and often violent, imaginary world. Calum Waddell caught up with the Eastern master of excess at the annual Edinburgh Film Festival.

I’m A Cyborg is a massive departure for you. Do you view it as a sci-fi or fantasy film?

I am not sure what I would describe it as. (Laughs) The main theme of the movie is that of a female outcast, and nothing is really resolved in her life until the end of the film. Basically, she is romanced by a mental patient that becomes her boyfriend and he is able to “un-code” her, which I hope audiences understand. You see, he has to speak to her on her level and say, “Okay, so you are a cyborg, I agree with that – and now I will begin to help you.” I would say that the film is about appreciating someone else on the same level that they do. That is how I would describe the romantic element in the film anyway!

When your leading lady first turns into a cyborg it is shocking because she seems so harmless…

Yes, I agree – and it was difficult to make the actress believable as a cyborg because she is so unthreatening and petite. (Laughs) But I think we got it right.

And I’m A Cyborg, coming after your thriller Sympathy for Lady Vengeance, once again shows a young female as a threatening and frightening presence. Why does this image appeal to you?

Probably because I am so used to seeing macho male characters in films. I was once drawn to this too – I am a big fan of Sam Peckinpah for example – but I have two reasons why I prefer a strong female. The first is that as I have grown older I just find a male aggressor to be too blasé and less interesting. The second is that now I have a young daughter as well as a wife who I have been with for 20 years. As I spend more time with my family I have begun to appreciate strong women more and more. (Laughs)

How was I’m A Cyborg received by Korean critics? Did it do well at the box office in your country?

In terms of box office it did not have a great deal of success but that does not mean it crashed. Instead, it made back somewhat below the original investment. (Laughs) As far as the critical reception goes – some felt it was the greatest thing I have made to date and others said it was complete rubbish, there was no in-between.

In saying that, your work almost always seems to get a UK theatrical release. Can you perhaps comment on why you think your films are able to attract an audience in foreign countries?

I would say that the key element to the success of my films is probably the mystical element in them and I would say that this is most prominent in I’m A Cyborg. I guess that means that my films are able to translate to countries outside of Asia. Plus, the archetype of each of the films I have made has been relevant to people of every race and to every nation in the world. I think about that whenever I am embarking on a new project and at its core I would say that I’m A Cyborg is a romantic story.

Along with Takashi Miike and Fruit Chan you directed a segment for the great compilation horror movie Three Extremes. Your episode was about the divide between the rich and poor in Korea – what drew you to this particular story?

That was the only time I have put social commentary in a movie. What inspired my segment in Three Extremes was the idea that people only really become nice after they have enough money to live a good life. I think that the way we behave is all down to money - but if you are poor then you have no time to be nice and you can very easily turn nasty. For me, this was a very important point – and that was why I made that movie.

On the other hand I’m A Cyborg does not appear to have any social commentary in it – would you like to make a “message” movie again?

I am not sure if I will have the chance to do something quite so meaningful again. However, I have to thank you for bringing up Three Extremes because that is my personal favourite from all of my films and no one has ever asked me about it until today.

Can you talk about some of the influences on your work?

When I started out it was definitely Alfred Hitchcock who was my greatest influence. I am also influenced by Akira Kurosawa, I love Rashomon, and by a lot of Hollywood B-movie directors, but far too many to mention.

Do you ever foresee yourself going to Hollywood?

If I came across a really good script then I would work anywhere. However, I hear that they are having problems trying to remake Oldboy in America just now, so I don’t know what kind of movie I would make in Hollywood.

Your movies have shocked a lot of filmgoers. What shocks Park Chan-wook?

I actually had this conversation with someone else earlier and I said that a truly shocking image can happen anywhere and to any person. I have never really tried to shock anyone - I just make stories where certain things are relevant to the plot. (Laughs) But I can’t think of any film that has shocked me yet!

I’m A Cyborg opens in UK cinemas on 4 April 2008.