Regina Park wants answers.

At an interview in which she is the subject, Park awaits a table at Koryodang Bakery in Manhattan’s Koreatown strip. It’s a chilly fall evening and Park is swaddled in outerwear, as she explains that she is suffering from jetlag upon her recent return from a trip to Bangkok.

When asked about her occupation, she replies, “I’m sure you don’t want a boring play-by-play of my day.”

Raising her voice to be heard over a booming club remix of Amy Winehouse’s “Rehab,” Park cheerfully commands, “Tell me about what you do! What is it like?”

Park, a first-time documentary filmmaker, much prefers asking questions to answering them. She has been quietly promoting her film, “Never Perfect,” a feature-length exploration of double eyelid surgery.

The second child of Korean immigrants who owned a small chemical solvent company, Park, 33, was raised in Cincinnati at a time when there were few other Asians living there.

Park started dreaming about becoming a filmmaker when she was in high school. During her undergraduate education at Barnard (she fled the Midwest as soon as she could), Park participated in graduate film projects. Her professional life has included stints with Academy Award winners Michael Moore and Jessica Yu, and though she still supplements her income with freelance work, she currently pursues her own film projects full-time.

Park’s mother frequently traveled to Korea, returning with bags of store-bought, eyelid tape intended for her single-lidded daughter. “Just try it,” her mother pleaded, chasing her around the house. “‘Just try it!’“

The tape would double the crease along the lid, Park says, making her eyes appear larger, which her mother considered a more attractive look. To be placating, Park reluctantly applied the sticky plastic on her eyes.

Her mother also suggested surgery, but Park resisted. (“I always had a strong connection to my single-lidded eyes.”) However, a fascination with eyelid surgery stayed with her.

The idea for “Never Perfect” formed in 2004 on a whim. There was a vague plan (“some man-on-the-street interviews”) that might have amounted to a short film, Park says, but it morphed into a more encompassing endeavor.

She discovered that the prevalence of eyelid surgery among Asians around the world is tied to identity, perceptions of beauty, and how these are formed. It would take more than 10 minutes to tell the story, she realized. But, as time is money, where would the funding come from?

As it turns out, it ended up coming from Park’s pocket. She, along with her husband and co-producer, Ted Robinson, financed it independently.

“Not really having a guarantee that anything was going to happen, I just took the leap, crossed my fingers and did it,” Park says.

The rest of the process also functioned as a gamble. They worked for three years, interviewing more than 40 academics, journalists and plastic surgeons, all without having found a willing interviewee who would provide the narrative thrust of the film.