Bong Joon-ho by Jung Ji-youn

Bong Joon-ho by Jung Ji-youn

Author:Jung Ji-youn
Language: eng
Format: epub, pdf
Publisher: Seoul Selection


Was the atmosphere in your home sexually conservative?

That’s not it. My parents didn’t interfere with or demand anything from their children. In that regard, it was more on the liberal side. However, I do remember this. When I was young, I was watching a film on TV called Last Concert with my big sister. In the middle part of the film, you saw the man and woman kissing, and I still remember how my father came passing through the living room just at that point and said, “What are you doing watching that?” And actually, Memories was based on a true story, and there are still victims around, so I felt even more that I had no choice but to consciously exclude that. I thought that it was inappropriate to show the body of a victim as a sexual object.

Is the commonality of spaces like tunnels, basements and sewers in your films something that emerged as you were conscious of a concept? For example, the spaces in Memories of Murder and The Host are always spaces where bodies are buried or rot. Viewed from a distance, these spaces appear very normal and tranquil. The pastoral image of the paddies where the rice ripens in Memories, the banks of Han River where common citizens go for outings. But if you point the camera up close at those spaces, the bodies of people, victims from real spaces at that, have been abandoned there without funerals, stripped naked.

It turned out that way in the end. I’ve never consciously used that. Even when I wrote the script for The Host, I was wrapped up in wandering around the Han River; I didn’t plan anything in advance with the symbolism of that space. But actually, I tend to really dislike using spaces in a clichéd way within genre. For example, in Korean gangster films, you always have the harbor spaces where containers are stacked, abandoned places, that sort of thing.

Near the end of Memories of Murder, there’s a scene where SEO Tae-yun fights with PARK Hyeon-gyu in front of the train tunnel. At that point, PARK Du-man comes with the DNA report from America. How did you do the design for this scene? It feels like an expansion of the drain pipe from the first scene.

I was happy when we found that place during the location scouting. Actually, there was no tunnel scene at the screenwriting stage. As we were filming, I was worrying about what in the world I was going to do for the climax. And then, during the filming, we were looking for an appropriate section of railroad track for the scene where BAEK Gwang-ho is killed by the train, and we ended up finding a section with a tunnel. The second I saw that place, I had a feeling like the climactic scene had been completely figured out. Because it’s a tunnel, there’s a boundary line that appears between light and darkness, right? The detectives stand on the side of the



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