Park Chan-wook
Park Chan-wook
Park Chan-wookis a South Korean film director, screenwriter, producer, and former film critic. One of the most acclaimed and popular filmmakers in his native country, Park is most known for his films Joint Security Area, Thirst and what has become known as The Vengeance Trilogy, consisting of 2002's Sympathy for Mr. Vengeance, 2003's Oldboy and 2005's Lady Vengeance. His films are noted for their immaculate framing, black humor and often brutal subject matter...
NationalitySouth Korean
ProfessionDirector
Date of Birth23 August 1963
When I was going through puberty, I had all these feelings of being unstable through those years, and being uncontrollably drawn to things of beauty and things that are bad.
When I say that I am going to do an American film, I didn't want to suddenly go off into a completely different world that which bears no relation to the style of filmmaking that I'm used to.
When I grow older and less popular, there will come a time when I have to shoot films on low budgets.
Actors, I think, are all the same. Both Korean actors and American actors are all very sensitive people, and they are all curious to know what the director thinks of them and how they are evaluated, and they try to satisfy the director. And they like it if you listen carefully to their opinions and accept them.
I live in a rural residential area. It's a great place for a walk. I'm at my happiest when I'm listening to my iPod while walking around where my feet take me.
Ever since I arrived in America to promote "Stoker," I haven't had time to go and see it in a theater. The fact that I had to shoot twice as fast as I'm used to in Korea was the most challenging thing about my Hollywood experience.
The point of revenge is not in the completion but in the process.
I have always meticulously storyboarded my films from beginning to end.
Actors are professionals who deal with people's emotions and their thoughts. So, working with this very intelligent, smart cast meant that sometimes I would only have to start speaking a word and these wonderful actors would immediately catch onto what I wanted them to portray, and how I wanted them to act.
I love Philip Glass' work, not only as a film composer but also as a musician. The film score work that he does always amazes and shocks me.
I'd like to do a really masculine film.
I'm not the kind of director who aims to send a message out.
Not only do I look at the playback with the actors, but I look at the on-set assembly footage with the sequences with my actors as well. These are the reasons why I take twice as much time to shoot a film in Korea. Thinking back, I remember on my first ever Korean film, I never used any playback or on-set assembly, so all I had to do was to tell myself it's just like making my first ever Korean-language film. After that, I felt right at home.
I've read all of Sarah Waters's novels which have been translated into Korean.