Ep. 30 - Director Park Chan-wook interview - No Other Choice, Oldboy, Cinematography, Score, Editing, Sound Design, Alfred Hitchcock, Psycho, Rope & more

Okay, welcome to the on film with Kevin McCarthy podcast. I am honored today to be joined by one of my favorite filmmakers of all time. A filmmaker that I grew up watching and loving your work, director Park Chen Wook, talking all about the new movie, no other choice. Good to see you, sir. Yeah. Hello, Mr. Komahwe. Banggawe. Thank you for having me and it's great to meet you. An honor to have you here. I also want to shout out your incredible interpreter, G1, who's going to be off camera interpreting director Parks answers today. So thank you to her as well. We're going to start off with this. Um, I started this show as a longer form podcast to have longer form conversations about filmmaking and I always wanted to dive into the different decisions a director has with their cinematographer and their composer and their editors. Um, but I started this show off because when I was a kid, I remember going to the movies and feeling that, that communal experience, the importance of going to the movies, growing up. What was a pivotal theatrical film that you saw that was important to you to know the importance of film? I know Vertigo is your favorite movie of all time, but do you have theatrical experiences you saw that were important? Yeah, I remember when I was a kid, uh, that Disney animation. Uh, that, I don't know exactly what it was, ex-Caliber. Is that not it? Okay, I was talking about the Aseo Wang. Of course, where is it? That's what I saw. I think it's a little bit more vivid. Um, um, I think it's a little bit more vivid to know the importance of film. Uh, I think a movie I especially remember from back when I was younger is a Disney cartoon. Uh, it was an ex-Caliber movie I believe about King Arthur. And I especially remember enjoying the training sequence where Arthur's training with Marlon. And of course, I really liked the movie "Bond" movies. Uh, when I was a little older, uh, 10th grade, uh, when I first saw the "Towering Inferno" movie, uh, the Disney movie, I remember that movie was really big for me. So I spent a lot of time on making a poll, um, two-veh-five, and I was totally lost. I was really happy. And of course, I also watched "Bond" movies growing up. And when I was older, I think during my early teens, I remember a disaster movie called "Towering Inferno." Uh, and that really excited me. And I fell in love with Steven McQueen and Paul Newman. Those are really good choices. Um, and it's interesting. I bring that up because I remember specifically discovering you as a filmmaker. I remember the exact moment that had happened. And, um, when I was growing up, I used to live near a blockbuster video. And I would go there and I would walk through the, the store and I would find movies I wanted to rent. And I remember coming across the old boy DVD. And on the cover of the old boy DVD was Quentin Tarantino's name. And I was like, okay, if Quentin's name is on this, I'm going to rent it. And then I rented the film and it was, it was a, it was a game changer. It opened up my eyes to the world of your storytelling. And it was pivotal for me. And I was curious if you had moments like that growing up where you found a filmmaker's voice for the first time and then that filmmaker became a pivotal part of your cinema journey. Like, like it kind of did with me where I found you through walking through a store and seeing Quentin's name on your, on your DVDs, uh, case. My most memorable thing is that I was able to get a university degree in Korea. And in Korea, the university degree was very important and it was very exciting. So, uh, I couldn't see the movie for a year before it was released. I couldn't go to the theater. I didn't have time. But, um, the exam ended so I was able to go to the theater. And then I saw the movie for the first time and it was a different Excalibur. This is a good movie, a movie that I don't like. I can't really read the movie when I saw it. So, uh, uh, before that, the movie that I saw was completely different. It was very unique and impressive. One thing that just, uh, came up to my mind is after I finished my college entrance exam and in Korea, the college entrance exams are very important and competitive. So, while I was preparing for the exam, I didn't have time to go to the theaters. So, after the exam, I finally had my moment of liberation and I finally went to go see a movie. And interestingly enough, it was another Excalibur film. But this was a John Bournemont live-action film and I can never forget the feeling of shock that I felt as I was watching the film because up until that point, I only considered, um, entertainment purposes films. And this was the first time that I truly got to see the creative vision of a filmmaker. So, after that, John Bournemont was a fan. Of course, I was looking for a movie that was a point blank. I was one of the most movies. That was the final one. I was going to read the book, which was a book that was made for Donald Westlake. And that was the one that made me meet the X. And ever since then, I became a fan of John Bournemont, which led me to one of his movies Point Blink, which became one of my favorite movies of all time, which then led me to Donald Westlake, which then led me to the novel The Axe, which the no other choice is based on. Of course, Point Blink was not a different film, but he did. What was the pen name? Something stark. Philips stark. A Richard stark. I'll edit it on the video. I know Vertigo is your favorite movie. And obviously, this conversation is going to be wide-ranging about film-making, but obviously we're going to be focusing heavily on no other choice, which I've seen twice. And we're going to dive into that. But with Vertigo, when I was a kid, I saw that movie, and I saw the Dolly Zoom. And I didn't really understand why it made me feel the way it did. But when I saw it again in Jaws, when Roy Shider sees the shark for the first time, the technical nature of that shot, the zooming in and pulling the camera back, it's narratively driven. It's a cool shot, but it's narratively driven. I was curious, do you remember the first time you felt that Vertigo effect when you saw Vertigo and what that shot meant to you? Did you understand why it made you feel the way it did? Yes, I was the director of that movie. So, was it the movie technique or was it a form of reality? It's called firm. You never forget the beauty based on that. The value is that it's not treated thousands to thousands over several years to be discoveries, but the personnage experiment. As 일뱀는 auto-evaloor environment, it's not just about the nature, but about the nature and the reality. But it can't be separated. It's about the nature through the style. It can't be separated. The style is the main theme, the style is the nature. It's not treated to me. It was the technique that you mentioned in the film. It was very significant for me. That was the moment when I realized that technique or in movies and form and art isn't just for decorative purposes, or to beautify the film. It's really for conveying the characters' emotions and the theme. People usually like to speak on the story and the form in separate terms, but that was the moment when I learned that they are one and the same. Style equals steam and style also equals plot. In Vertigo, during that moment, that's when I was hit with that realization. That led me down a path. I remember going back to watch Hitchcock's rope. Back then, I think the film magazines were 11 minutes, so he would have to go behind Jimmy Stewart's jacket, and he would cover the edit and just move along. It felt like a big oneer because it felt like a play. I think that's what he was going for. That's another reason where the technique is cool, and it looks really interesting, but it's also servicing the narrative. Are you a fan of that movie, Rope? I like this movie. I was also in a period of time. I want to try to challenge that story in a certain space. That's what the movie industry has been doing. The story has been completely lost in the story, and it's been a part of the story. I want to make a movie that is the experience that I live in. 그것도 역시 폴르티고의 경우와 마찬가지로 형식이 그리고 스타일이 그 자체로 그냥 영화의 Them을 표현하는 그런 좋은 재라고 할 수 있죠. 네, 저는 또 저는 아파나의 룰을 하는데요. 그리고 강wegose Johann 나 만큼 한 개만 Godsuy 짜창의 47으로 장ores selbst 이다이게 essa 괜찮아 installation jak imagining房單에도 이 모든 예술의 힘이라고 말할 수도 있죠. 문학, 음악, 모든 것들이, 미술, 모든 것들이 다 보편성을 갖지 않는다면 진정으로 성공한 작품이라고 말할 수 없고 그렇게 잘 된 작품들은 어느 날, 어느 시대 우리가 그걸 접하더라도 똑같은 감동을 느낄 수 있다는 것이 얼마나 놀라운 일인지, 얼마나 기적 같은 일인지, 세상 생각하게 됩니다. 지금 제가 여기 오는 차에서도 음악을 들었는데, 타이달로 들었는데, 프레디허바드, 컵이 한 곡이란 사람들이 1970년, 1970년에 연주하는 음반을 들었어요. 1970년, 내가 그러니까 열살도 되기 전에 녹음된 음반인데, 나는 음악을 들을 때 늘어낼 수 있는 것들을 연주하는 모습을 상상을 하고 하거든요. 그런 모습을 상상하게 머리 속에 그려 볼 수 있는 그런 것이죠. 얼마나 기적 같은 일이가 또 한 번씩 가만 있습니다. 그리고 저는 이 곡을 들을 때, 프레디허바드, 컵이 한 곡이란 것입니다. 그리고 그의 pictures of my eyes and Зап 악애를 에센시ond 정말viniativ our work lives on and we come back into life through ㄺ ieltear to film and music. 지금 당장 사람들이 좋아할 그런 내용을 그런 요소를 끌어 드리는 것에 대해서 항상 의심하고 다시 생각을 해보는 이유가 이것이 지금 당장 인기를 끌 수 있는 어떤 요소, 어떤 내용, 어떤 다의사, 어떤 카메라 움직임 그런 것들이 당장은 지금 사람들이 지금 사람들이 지금 사람들이 인기를 끌고 호감을 얻을 수 있을지 몰라도 이렇게 만들어서 내가 죽은 후에도 사람들이 찾아보는 영화가 될 수 있을까 항상 그 기준으로 검증을 하고 온 합니다. - 이 waren 포기할 때avohead alif with almost 300m fireworks MV 한 biomass의 - 그 아라보 암도 스름마트크나 필름아카이브에 극장 상형관에 가서 옛날 영화들을 많이 보는 사람으로써 주로 사실 옛날 영화를 많이 보거든요 그런 사람으로써 늘 생각합니다 내 영화가 과연 50년 100년 후에도 이 극장에서 상형될 수 있을까 그것이 저의 유일한 판단의 기준입니다 - 제가 본인의 암도 스름마트크나 필름아카이브에 의한 영상에 대한 기준입니다 사실 저는 그냥 본인의 기준입니다 그리고 저는 본인의 영상에 대한 기준을 생각합니다 그리고 50년 100년에 이 극장에서 상형될 수 있을까? 그래서 그의 기준을 어떻게 생각하는지 모르겠습니다 제가 my wife의 제 몸과 제 생활을 본인의 기준을 보호한 시점을 보여줍니다 그의 기준을 보면 두 시점에 두 시점을 보여줍니다 그의 기준은 다시는 4년에 수준을 보여줍니다 그의 기준은 가장 유명한 기준입니다 근데 저는 본인의 기준을 보여줍니다 근데 그의 기준은 조금 더 유명한 기준을 보여줍니다 그의 기준을 보여줍니다 그리고 그의 기준은 다시는 3년에 수준을 보여줍니다 근데 그의 기준은 그의 기준을 보여줍니다 그의 기준은 그의 기준을 보여줍니다 그리고 그의 기준을 보여줍니다 그의 기준을 보여줍니다 그의 기준을 보여줍니다 그의 기준을 보여줍니다 저는 제가 본인의 기준을 보여줍니다 저는 제가 본인의 기준을 보여줍니다 저도 역시 같은 영화인데요 'Lolence of Arabia'를 제가 영화 감독이 된 후에 20세 긴 말에 한국의 서울에 가장 크고 좋은 극장이 문을 닫으면서 문을 닫는 게 아니라 멀티플렉스는 개조되면서 그 몇천석 짜리 거대한 극장에서의 마지막 상형으로 그 영화의 70mm 상형을 했습니다 그래서 그 영화의 70mm를 볼 수 있는 마지막 기회라고 생각해서 영화 조항선이 다 몰려가서 봤죠 그 추억을 지금 잊을 수가 없어요 영화의 70mm 상형을 가지고 있는 기준을 보여줍니다 20세 긴 말에 한국의 70mm 상형을 가지고 있는 기준을 보여줍니다 그 영화의 70mm 상형을 가지고 있는 기준을 보여줍니다 그 영화의 70mm 상형을 가지고 있는 기준을 보여줍니다 그리고 이 영화의 70mm 상형을 가지고 있는 기준을 보여줍니다 그래서 이 영화의 70mm 상형을 가지고 있는 기준을 보여줍니다 이 영화의 70mm 상형을 가지고 있는 기준을 보여줍니다 그리고 이 영화의 70mm 상형을 가지고 있는 기준을 보여줍니다 이 영화의 70mm 상형을 가지고 있는 기준을 보여줍니다 그리고 이 영화의 70mm 상형을 가지고 있는 기준을 보여줍니다 그리고 이 영화의 70mm 상형을 가지고 있는 기준을 보여줍니다 그리고 이 영화의 70mm 상형을 가지고 있는 기준을 보여줍니다 와, 부럽다. 예, 확실히 컨텐이 올 보이가 깐에서 상형됐을 때 심사위원 장으로서 그 영화를 큰 상을 주었고 그리고 많은 사람들한테 여기저기 이 영화에 이야기하고 다녀주어서 이 영화가 좀 더 많이 호기심을 사람들이 도대체 무슨 영화길래 하는 그런 궁금증을 갖게 만들어줬죠. 그래서 정말 고맙게 생각하는 친구고요. 그래서 캔딴이 갖고 있는 극장에서 지금 노하드철스를 하고 있다는 건 저는 몰랐어요. 지금 처음 알았는데 그것도 정말 아직도 신세를 지고 있네요. 지금 알았는데 그것도 정말 아직도 신세를 지고 있네요. 오히려 비극성을 더 강화하는 그런 길을 찾아서 계속 왔다고 생각합니다. She's American. Her favorite group member was L away from her. They were all from the same era as they did with our landmark group the very beginning and end of the day I looked at it with a photo camera me out as "Million Kings," thick glasses, hotels and ones "I'm not sure that he gets the next job" and that means trying to take out and kill the other perspective people who are going up for the job as well. But there's one particular scene where E-Bi-Young's character goes in with the gun and essentially the music is extremely loud in this scene as the characters are speaking over the music. That's an interesting scene for tone because as he's pulling the things off his hand there's a comedic beat to it but it's also an extremely serious scene because of what the character is doing. That to me is a great example of the push pull. Can you speak about finding that in a scene like that? "I always want to be the one who takes the job." Everything is one is my principle so comedy and tragic being one entity was the principle that I approached the scene with. But I want to do the job that I like. That's the way it is. It's a picture of a killer. It's a man who is so cruel. That's where the comedy starts. So I think about how to take care of the situation and how to take care of it. There's no experience and no knowledge. I'm going to start from there. From his very little knowledge and little background, he's trying to brainstorm, "How can I best kill these people?" I think that's what I want to do. But as I go, I want to listen to music. I want to be good. I need more music. I need to be more careful. So I can be a little bit more careful. I think that's what I want to do. I want to be more careful. I was wondering when you filmed the scene, was the music actually there or was it added in post and the actors were just yelling? Did you actually listen to music when you were shooting? I wanted to do it like that, but it's hard to edit. It's hard to edit. It's hard to edit. I wanted to play the music while we were shooting, but it would make editing too hard, because we would have to calculate everything frame by frame. So instead, I just communicated to the actors in advance about how loud the music was going to be and then we shot without the music playing. And I think it would have been very, it was very difficult for the actors because they didn't know how loud they had to be in order to balance their dialogue with the music. So we did multiple tests and made it happen. And watching them, they actually really looked like idiots because they were just yelling really loud when there was nothing playing. I always think of that scene in David Fincher's social network when Jesse Eisenberg and Justin Timberlaker and the club and they're yelling at each other with the loud music. I think they filmed it the same way. Oh yeah. I'm sure they did. Yeah, so interesting. The sound design in the film is remarkable. I want to bring up the cicadas or really a big part of it. The daughter's cello, that is music that lives in the world of the movie but also kind of plays as score. Would you agree? I mean, the melody is not that simple. So you're talking about the repetitive sounds of the cello and the sound. There's points where we'll hear it without seeing the character playing and it sounds like score but then the camera will rise up and we'll find the daughter playing. We realize the music exists in the world of the film. Yeah, thank you for your attention. In the first scene, the music that is playing the song is playing in the mirror and it's very powerful and it's a perfect music. The sound of the cello is playing as if it's playing in the mirror. This is a new soundtrack that makes it a real sound. The camera is playing the song and the child is playing the cello. The child is playing the cello. I think this is a fun story. Yes, I'm very grateful that you pointed this out. We start with the Mozart's concerto playing and of course this Mozart's piece is pleasant and in fact Mozart's music is perfect. But then you hear the squeaky sounds begin to invade this music. We basically ruined Mozart's music. At this point, the audience might think, "Oh, it's just some form of experimental soundtrack." That's when the camera reveals that, "Oh, it's actually just a small kid practicing her cello." And I think this is a very fun usage of music. The music is a bit of a spoiler, it's not like I wanted to spoil it, but it's like the music is being played and the audience is moving towards a certain point of the audience. Another thing is because of this scene, this character really seems like a novice cellist because she's practicing the same bit over and over again. At this point, the audience is underestimating the daughter's abilities in cello. Of course, I don't want to spoil the movie, but as the film progresses, we realize that the audience's prejudice begins to break. Yeah, it's so interesting. And that's a great piece of sound, but also the shoe store, the dinging of the door, and then the cicadas. Those are all repetitive things. Can you speak about repetition and how that builds tension? It's a bit uncomfortable to play the audience. It's almost like a habit that you can use. It's almost like a habit that you can't play the audience. So, I wanted to make the audience uncomfortable through the sound. So if there's a limit to what's allowed, I really wanted to try to get to the borderline of that. So I wanted to make the audience uncomfortable through the sound that was playing. I wanted it to feel disturbing, so much so that the audience just wanted to end. That's what allows the tension to raise in the moment. Through this, we also see how disturbing disturbed the emotional state of Manzu is in this situation. I'm doing a schoolwork in the Blue Ray. So I came to the convenience store and came here for about 18 minutes. There, in the corner of the corner, the weather gets much longer and the sound of the sensor is much more diverse. I think that's what makes it much longer. I think the audience is really very excited. I worked on the expanded cut of the movie for Blue Ray release. I had just finished editing the cut in Korea. I think there's going to be an extra 18 minutes for the expanded cut. For that cut, we extended the dialogue for the shoe scene as well. Because the scene is longer, we also hear the sound of the bell repeat for even longer. I think because of that, we really reach the limit of what the audience can listen to. I think because of this change, the audience might just find themselves screaming, please stop. Please just close the damn door. It's an interesting tool because if the sound is happening off camera, we're filling in what's out of the frame and we're thinking of that. I think that's interesting. I want to talk about score. Score is another use of tone. You've always used score as a leading character in your films. It also helps the tonal shift of how we feel as the audience. What's your relationship with film score? Talk about your narrative conversations with your composer. Because you have the writing, you have the story, you have the tone, but the music also affects the way we feel about every scene. If you watch the shining and put happy music on it, it changes the movie. So I'm just curious about what your tonal conversations are with your composer. I think that's the most unique case in the movie. I think that's a unique case across all history of film music. Because he doesn't compose the music himself and we call him a music director instead of a composer. For every film, he selects three to four young composers and creates a team. These are young composers who are fresh graduates of music school and just like his title music director, he directs them. So I rarely ever get to see the composers for this film as well. I saw them for the first time when they were recording. I always write the writing. I write the writing, write the rhythm, write the melody, and the director's reaction. I think that's why I'm trying to make the music director a part of the film. So, Choi Young-ho decided on the concept of the music with the director and then he makes a detailed plan on the music and that's when he meets the composers and tells them what kind of music to write. And afterward, he continues to make revisions with the composers. Like, "Oh, why don't we use a different instrument here or change up the rhythm here, change up the melody or have less repetition in this part?" So after all those revisions, he then has another conversation with me and I also have similar notes about, "Oh, why don't we just change up the instruments here?" And after, so he basically acts as the bridge between me and the composers. And then, as I said before, I met him in a movie and music director and he was just a friend. So, he was so close to me and he actually lived in his own house. And then, as I met him, he was just a friend of mine and he was just a friend of mine. And then, he was just a friend of mine and he was just a friend of mine and he was just a friend of mine. So, when he works in a movie, he can do everything he can without any doubt. And he can change up to a variety of different styles. So, I'm also a person who likes to talk about music. So, that's how the music process is so fun and creative. And, to me, we had known each other even before we were music directors and film directors. So, we had always stayed, we had always been friends and we've been very close for many years. And on top of that, he's my literal neighbor. He lives right next to me, which is why we hang out very often. We listen to music and watch movies together and go to concerts together. So, he's truly one of my closest friends. And that's why our relationship allows me to have very honest conversations with him about the film's music. And it also allows me to try many experiments with the music as well, which is very fun for me because I am also a lover of music as well. So, there's a lot of fun when we listen to music and the music that goes well together. And there's a lot of fun when we go to the music and the music that goes well together. And I try to find the best song that I can do while doing this. And what we think is the most important thing is that the music that goes well together, where does it start and where does it start and where does it end. When we release the music, there are good scenes, where there's no music. So, the most important thing we do is to start the timing and the timing that goes well together. And for certain scenes, there's instances where it's better off to have music that goes well with the scene that we're seeing with our eyes. And in others, it's better if the score feels completely off from what we're seeing with our eyes. So, we go through all of these many experiments to try to find the best score. And what we truly prioritize is rather than what music we're using, we're always talking about when does it start and when does it end. Because for some scenes, it's better to not have music playing. So, we spend the most time discussing when to start and stop the music and whether we need music here. And I really feel like digital technology is just like music. We really need digital technology. We're trying to adjust the music with a few frames, and when we're doing the recording, we're going to be able to see the results of the performance. And if you're going to be able to see a picture of a picture, it's a very accurate work. And in an area where I feel like digital technology has brought the greatest blessing is truly music. Because thanks to digital technology, we're able to adjust the music to the scene, frame by frame. And we're always trying to accurately match the picture to the music. So, for instance, we have the pitch-cotto, try to match the footsteps that we're seeing with our eyes. So, we're very much invested in accurately matching the picture and the music to the best extent. And although audiences might not explicitly point that out, I think subconsciously they're able to sense it when it's really working together. It's a great example of how audiences collaborate with you as the experience. I know we're running out of time, so I can't not ask you this question. So, cinematography is, I mentioned score. Score is a leading character in your films. So is your camera. Your camera moves like a character at times, the way it's moving, the way it's finding things. If we're on the iPad with the guns, the camera's moving back and forth. But I mean, I can't not mention the old boy hallway shot, obviously. It's a scene that, in my mind, is one of the greatest shots in cinema history. And it's a scene where the camera is very important as we're following the character in a one-er on the in this hallway fight. I know you've talked about it at length. I know everyone asks you about it. But I wouldn't be able to do a film podcast if that scene hadn't, if I didn't see that scene as a kid. And it just sparked my love of cinematography. So could you just walk through your memory of filming that sequence, how many takes it was, and kind of the desire of what you wanted to get across, keeping it in a one-er as we go back and forth? Originally, the scene was the scene where I was really worried about the action sequence. There was a scene in the climax of the JSH, but I really didn't want to film that. I didn't like to watch action movies, but I hated to film it more. So, in the old boy scene, I needed a drama scene, but I didn't want to film it, so I was like, "What should I do?" I was like, "I'm not going to do it, but I'm going to eat it big." But I couldn't do it that way. So, if I were to film it well, I would be like, "Let's take a new action scene, and make a storyboard." And the scene was very short and the editing was very fast, and I had a very unique sequence. I was in the scene, so I felt like I was going to change my mind. It started out with how shooting action felt like so much work for me. So, even back when we were working on JSH, there was a scene where there were gunshots, and I didn't want to shoot that either. I don't like to watch action, and because of that, I didn't want to shoot action either. But for old boy, for the sake of the plot, we needed a scene like that, and again, it felt like so much work to me. But then, as a director, I realized I can't continue to think like that. I have to approach the scene, and if I have to include this, I want to make it as creative as possible. So, I created a very detailed storyboard with many shots and fast edits to really bring out a very unique sequence. But then everything changed on set. Q. Was your first day a rehearsal and a competition in the past? Q. What did I say? I was in a rehearsal and I was going to take a good shot. But let's take a look at the whole show. So until the end, let's not rest. But it's too hard, so let's not get too much energy. I just did it like that. But I didn't use that much energy and I did it like a slow motion. Q. What was your first day a rehearsal and a challenge? Q. On the first day, we were doing a rehearsal of the whole sequence. Even though we were going to technically shoot this with different shots, since this is a rehearsal, I asked the crew and the cast that I want to see the whole thing as a rehearsal. Q. What was your first day a rehearsal? 그 캐릭터가 그 상황에서 느끼는 어떤 외로움 그리고 이런 싸움은 도대체 왜 필요할까. 이게 무슨 자기의 원수 늘고 싸우는 것도 아니고. 그냥 여기서 나가기 위해서 필요한 싸움인데 정말 하기 싫은 싸움이고 어떤 분노나 충동에 의한 싸움이 아니라는 거죠. 그리고 그것은 당연히 그렇게 마치고 났을 때의 정말 완전히 끝도 없는 그런 피로감 이런 것이야 말로 이 시내. 필요한 정서가 아니겠는까 하는 생각이 깨달음이 찾아왔습니다. 그래서 내가 원래 계획했던 그런 현란하고 아주 멋진 그런 액션이 무슨 의미가 있겠냐고. 하는 후회가 생겼고요. 그래서 그날 갑자기 모든 계획을 다 스토리 보드 수십 개의 세더브를 이루어지는 스토리버들 다 버리고. 롱테이크로 가는 감정을 했죠. - The Lonelyness, the character feels in the situation. because at this point, he is questioning the purpose of this fight. because he is not fighting his enemies, he is just fighting in order to get out of this building. So this fight isn't led by rage or great emotions which is why he feels a sense of endless fatigue at the end of this fight. And I realized that that was the exact kind of emotion that has to be portrayed and conveyed in the scene. And I realized that all the fancy and cool action setups that I had in my initial storyboard was meaningless. So I threw out the storyboard with the many setups and we just completely changed the scene and we decided to shoot this as a long take instead. - I want to mention editing. I think you have some of the best editing I've ever seen in films. There's dissolves in this movie that are brilliant. My favorite one is when he's digging the grave and the shovel and then his wife turns over in bed. Can you talk about the power of a dissolve and the power of editing and kind of how different the editing becomes when you're making the film versus when you wrote it and shot it? Do you find a dissolve like that in your post-process or do you write things like that into it? And reflections are a big part of this movie. The characters seeing themselves in screens or in the shower head or in the water. Are all those planned, all those choices? - Yeah. - In a movie that is a little bit. I don't really use people. I think I make a little bit of a movie based on the past. Especially the long-distance one. But I think there are many techniques that can be considered as a movie. I think you don't need to worry about everything. If you're going to have a lot of things in your box, it's a money. So I think you need to use everything when you need it. Recently, I saw a movie called Shanghai Express. It's called 'Keyin Diesel' and I saw it. I was so surprised and I was so surprised. Even young people, I thought it was a story that I couldn't feel the past. - Disalts aren't used as much in modern films anymore. People tend to think that it slows down the pace of the film. Especially if it's a longer dissolve. But there are many techniques that a director can use. I don't think you should avoid using any of them. Because the many tools and the two-box of a director are helpful. You need to be able to utilize all of them. Before making this film, I watched the movie Shanghai Express. There's a long dissolve in the film that's very beautiful. And watching that dissolve, I was hit with the realization that dissolves like this won't feel slow or feel old fashioned even to younger audiences today. The important thing is that it's not used as a tool for making it difficult to break. It's not used as a tool. It's not used as a tool for making it difficult to break. Everyone check out no other choice in theaters. If you live in LA, it's playing at the Vista in 35mm. Thank you so much, Director Park. Yes, I'm very happy to have a good conversation with you. This is a great enjoyable conversation where I could talk about everything that I wanted to. Thank you.