Nino, the director of Dharma Fragments, has a plan. He always has a plan. After we finish shooting the next segment for Dharma Fragments, Liberation—and he’s really charged about this, he wants to go to Cuba and do a series there. He asked, “What would inspire you about being in Cuba?” I didn’t have an immediate answer, though of course, Hemmingway. There’s something about the place, the music, the colors, the people… I’m sure it would be something extraordinary. One of the underlying themes of Field of Weeds is the secret place in the woods, the tree in the field behind the old hotel at Tsushima Island and past it the tunnel through the trees that leads to the open sea. I will never forget that place, that scene. I would love to film it.  My sense is, that’s what comes through the frames of Dharma Fragments, these images of Korea that only I know, my relation to the land, the places that draw me. That’s the underlying story. I’m working toward multidimensional themes that have something in the imagery, something more than a backdrop for a scene, that tells its own story. After all, our relation to the earth is of primary importance. We are the earth, an expression of it.  How we relate to it portends our mental health, our happiness. These powerful places that draw me, I always develop a relationship with them. It’s like a relationship with a true friend, always nourishing and sustaining, the best healer. Cuba will offer her secrets, and I will capture them.