Youtube music bruce springsteen
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“I wrote the first draft with Lee Jyung-yee, one of the co-writers on the film, and then we translated that Korean script into English, and in order to appropriately adapt this as an American film, that’s when Don McKellar came into the picture,” said Park, whose collaborator McKellar worked as a scriptwriter on Park’s HBO Max espionage thriller “The Sympathizer.”
Park said he was “devastated” to learn that “The Ax” had already been adapted into a 2005 French film by Costa Gavras (his family eventually helped produce “No Other Choice”).
He originally envisioned the adaptation as an American story told in the English language, but, unable to secure financing for the cost of his vision (ultimately more than a reported but still meager $11 million USD here for the version we see), he reverted to his Korean roots, setting his friend and early collaborator Lee (Park’s “Joint Security Area” and “Three Extremes”) in the lead.
Chung previously shot the likes of “The Handmaiden,” “Stoker,” “Thirst,” “Lady Vengeance,” and “Oldboy,” though Kim retains Park’s penchant for elegant dissolves and transitions that tell two stories about the same image at once. I think my life would almost have nothing if I [didn’t] have movies in it.
He’s, after all, got a lovely life with a wife, children, and two giant dogs named after them on the line.
Why Park Chan-wook Identified with His ‘No Other Choice’ Protagonist: ‘I Can’t Explain My Life Without Using Movies’
[Editor’s note: The following interview contains some spoilers for “No Other Choice.”]
Anyone who’s suffered unemployment or, you know, lives in the current global job market can identify with Park Chan-wook‘s “No Other Choice.” The Korean auteur’s Venice-premiered dark comedy, adapted from a novel called “The Ax” by late American potboiler writer Donald Westlake, stars a coolly transfixing Lee Byung-hun as a middle-aged paper mill expert and father of two who’s pushed out of his job — and into systematically executing all of his competitors so that he is the last living employable man in his chosen field.
First of all, Chung-hoon Chung was very busy,” Park said. Recently, I’ve had the thought that I shouldn’t dedicate my everything just to film.”
“No Other Choice” is one of five Neon titles in the running for the Best International Feature Oscar, along with Oliver Laxe’s “Sirāt,” Joachim Trier’s “Sentimental Value,” Kleber Mendonça Filho’s “The Secret Agent,” and Jafar Panahi’s “It Was Just an Accident”
Park’s work on the film — part thriller, part workplace satire, all told in his precise-as-needlepoint widescreen style — dates back more than 15 years.
IndieWire spoke to editor Klein as part of our first-annual craft roundtables series, where he said, “I showed [Gus] a cut early on, and he was like, ‘Yeah, I like it, it’s great.’ And I said, ‘Well, we need to do all these things,’ and he said, ‘Why?'” indicating that Gus Van Sant wanted a looser approach to the period material to make it look more anarchic, and closer to the indie visions that are hallmarks of his career.
Think Nicole Kidman brushing her hair, which becomes dry, windblown grass in “Stoker,” or in “No Other Choice,” an image of Man-su’s family layered on top of a churning paper mill that becomes a kind of vortex.
“I hired Kim Woo-hyung for the project back in 2010 or 2011 [back when ‘No Other Choice’ was an American film].
The film stars Bill Skarsgård as Kiritsis, and Dacre Montgomery as Richard Hall, who becomes Kiritsis’ hostage while his captor is pursuing vengeance over a dubious mortgage agreement. More changes came from the 15 years that have passed since I started working on the project, rather than the change of countries,” Park said.
As far as what his film wants to say about AI’s encroachment on our culture — especially given the film’s coda I won’t spoil here — Park said, “I don’t know if the message is quite an anti-AI message because regardless of how I feel about it, its development is not going to stop any time soon.
He laughed. But am I necessarily having an anti-capitalist message?”
He continued, “I think that discussion on its own is meaningless because we already live in a capitalist society, and it’s not going to go away anytime soon.
“He didn’t want to overrefine anything. After that backstage Bruce said that I was the biggest F&^%$#@ Santa he ever saw.
So when Man-su lost his job, if you apply it in my terms, it would be when I can no longer find investment [in my movies], I would have nothing left.”
He continued, “After his last murder, Man-su embraces his wife, and his wife tells him, ‘Oh, you shouldn’t have worked that hard.’ It was also a message that I wanted to tell myself.
I think there was an energy [in] things being kind of rough,” Klein said. “He was working on American films in Hollywood, so I needed a new DP, and Kim was very respected in Korea as a cinematographer, and also, he was very good at English, which was why I thought he was perfect for this job. At that time, we finished storyboarding and location-scouting around the U.S.
and Canada.”
“After it didn’t work out, we parted ways, and I called him back again to work on ‘The Little Drummer Girl’ together. And it works similarly for capitalism as well. After [‘No Other Choice’] was being developed again as a Korean film, we had to storyboard and location-scout all over again, so of course I called him again to work on that Korean version of that film,” he added.
We had a blast on stage and the crowd enjoyed it.