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s0022354a2-blog · 7 years ago

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Subtopic 1: Is there a clear sense of authorship across Bong’s films?

“The expansive progress of Bong’s filmography through the Host and Snowpiercer has made it very clear that the Korean director has the imagination and technical chops to create a fantasy cinema on a level with anything from the Hollywood mainstream, but a sensibility with no taste for the blockbuster production line’s easy reassurance.”

“The bittersweet finale also flags up the challenges ahead in providing a harvest for the expanding world, so no platitudinous solutions here, just a movie that showcases Bong’s admirable flair for artfully unhinged spectacle, deftly undercut by a chastening reality check that never allows us to enjoy ourselves too much.”

“A repeated image shows the girl leaning into the pig’s floppy ear and whispering to calm her down. We never hear exactly what she’s whispering, but the tight closeups of Okja’s mesmerized eye show us that she’s listening intently and gets the gist—that the girl’s words matter and make sense even though they don’t speak the same language. The pig trusts her friend. All the film’s many threads ultimately come back to questions of trust: what it means to keep it or betray trust, and whether there are circumstances where betrayal is necessary, and whether the trust between human and human is more meaningful than the trust between human and animal. Mija would tell you there’s no difference.” 

“He’s also a filmmaker who finds great, unsettling dark comedy in violence, and once again the blood does run, if somewhat less generously than in “The Host” and his often brilliant “Memories of Murder.”

“Mr. Bong’s virtues as a filmmaker, including his snaking storytelling and refusal to overexplain actions and behaviors, can here feel like evasions or indulgences rather than fully thought-out choices. There’s a vagueness to the film that doesn’t feel organic — as if, having created a powerhouse central character, he didn’t exactly know what to do with her. That said, his visual style and the way he mixes eccentric types with the more banal, like a chemist preparing a combustible formula, are often sublime, as is Ms. Kim’s turn as the mother of all nightmarish mothers, a dreadful manifestation of a love so consuming it all but swallows the world.”

“Okja is the Korean director’s most accessible film to global audiences to date, a near masterpiece that bends and twists genres and celebrates childhood even when it goes into some rather dark places along its still consistently childlike adventures.“

“Bong’s movies deny the easy satisfaction of an overarching victory, instead suggesting that you can’t save a world that may have already doomed itself.”

“I have admired Bong Joon-ho’s works for many reasons, and one of them is the unpredictability of his choices. He made me both laugh and cringe in a deadpan black comedy “Barking Dogs Never Bite” (2000), and then he played me like a piano in his great rural-set thriller film “Memories of Murder” (2003), and then he surprised me with monster film “The Host” (2006), and then he came back to another thriller set in the countryside in “Mother” (2009).”

“ …twisting suddenly from horror to pathos to comedy to action and back again… “

“His films are never about straight good versus evil; there’s never a particular heroic sense of triumph to be found. Yet, neither is he a filmmaker who revels in pessimistic brutality. Even in the darkest of moments, there’s always a spark of hope to be found.”

“Even the characters I create, they aren’t clear-cut supervillains or superheroes, they’re all residing in the grey area. Maybe that’s why a certain amount of optimism or pessimism mixes into my films. I do feel, however, that’s more realistic and more reflective of how society is, and how life is. If everything is clear-cut and residing in one direction, it might feel a bit forced.”

“Because Netflix isn’t pursuing a theatrical release in France, the President of the esteemed film festival nearly pulled both Netflix films in competition (Okja and Noah Baumbach‘s The Meyerowitz Stories). Though they screened (and received some of the best reviews from the festival), the Jury held steadfast on the prediction that they would not reward any of the streaming service’s films. Despite this future-of-cinema conversation, the streaming distributor has offered Bong much more creative control than his English-language debut, Snowpiercer, where he had a constant battle with The Weinstein Company over the cut. Indeed, he’s quite pleased with his experience this go-round and that freedom will only make Netflix more enticing for filmmakers.“

“The Host begins with the American company just saying “dump everything down the drain”. This one is behind the scenes but it has very similar effect…it’s all this pageantry around it as if they’re doing something good when really they’re just dumping things down the drain, as well. Were you wanting to explore that idea in a different way?

BONG: This time I want to portray that idea via Tilda, who plays two roles. With Nancy Mirado, like in The Host, I wanted to be very explicit with the violence that she inflicts. Whereas Lucy Mirado, she tries to differ from Nancy. She thinks that she’s more elegant, more eco-friendly; she’s more obsessed with the marketing aspect of it and how it looks on the exterior. Nevertheless, the winner within the Mirando group is Nancy, not Lucy, and I think that reflects my concerns and fears about the reality of multinational companies within capitalist societies. The more ruthless people almost always seem to take over.”

“The traditional studios were a bit skeptical or a bit overly conscious about the radicalness of the script, and they weren’t on board,” he said. “From the get-go, it was guaranteed creative freedom [with Netflix]. They weren’t meddling with any part of the filmmaking whatsoever.”

Subtopic 2: Are Bong’s films personal to him?

“To their credit, the moviemakers signal right away that this isn’t a film that adults can use as an electronic babysitter. The dialogue is liberally peppered with F-words, and the more exaggerated jokes about corporate hypocrisy are reminiscent of non-child friendly satires like “Dr. Strangelove” and “Network” (upon learning that it will take ten years for the pigs to grow, a reporter moans, “Jesus Christ—I’ll be dead by then!”). There are also visual and thematic nods to cartoonist turned director Terry Gilliam, who made films that were childlike and sometimes childish but never strictly for kids—in particular the 1985 anti-fascist fable “Brazil,” which appears to have inspired the derring-do of ALF’s membership, chivalrous rebels who evade police by diving off bridges”

“…Delightful, winning and deliriously wonderful story that unfolds is part E.T., part Bong Joon Ho, part Swiss Army Man (Seriously!), and ultimately one of the year’s most pleasant cinematic surprises.

“The movie’s underlying premise — child bonds with otherworldly beast and defends it from cruel adults — easily calls to mind “E.T.” or “Pete’s Dragon,” but Bong bends the formula into his own agenda.”

“It’s the recombinant offspring of all those science-fiction pictures of the 1950s and ‘60s in which exposure to atomic radiation (often referred to as both “atomic” and “radiation”) or hazardous chemicals (sometimes also radioactive) results in something very large and inhospitable: “Them!” (giant ants), “Tarantula” (giant spider), “Matango: Attack of the Mushroom People” (giant fungi), “The Amazing Colossal Man” (giant bald guy), “The Giant Behemoth” (giant behemoth – both giant and a behemoth, but more precisely a radioactive ocean-dwelling Godzilla clone), “Frankenstein Conquers the World” (giant Frankenstein’s monster atomically regenerated from the beating heart of the original monster after the A-bomb is dropped on Hiroshima), and so on.“

“Joon-Ho Bong implies that media and government are equally incompetent and untrustworthy. When you need saving from the maw of a mutant river beast, you’ve got nowhere to turn but your kin.”

“I think that films aren’t necessarily tools to change the world, a film is just a beautiful thing in itself. However, when someone is experiencing the beauty of a film, that itself is changing the world in some aspect.”

“I don’t expect the entire audience to convert to veganism after watching the film. I don’t have a problem with meat consumption itself, but I do want my audience to consider, at least once, where the food on their plate comes from. And, if one is to do that, I believe the level of meat consumption will gradually decline.”

“The South Korean director’s films, in the cinematic landscape, have never really been considered outright political missives, perhaps only because they hide under the guise of genre film.”

“However, although the super-pig phenomenon may be fiction at the moment, it’s very close to being a reality. In Canada, they already made some kind of GM salmon. It’s already gotten FDA approval. They are starting to very carefully distribute it in the market. In the process of researching the film, I met and interviewed a PhD student who is developing a GM pig. So, Okja is real. It’s actually happening. That’s why I rushed making Okja, because the real product is coming.”

“I was always a huge film buff. I was a child of the ’70s, so I didn’t have access to DVDs or VHS growing up. I didn’t go to the movies that often either. In many ways, TV was my cinema. I would open up the TV schedule and see what movies were playing each week. Although I was mostly watching films on TV, I could get through around ten a week. By the time I got to middle school, I was certain that I wanted to become a film director.“

“I majored in sociology in college. I knew that my parents would disapprove of me studying film.”

“For my next film, I’m going to try making what I’ve liked the most ever since I was a kid. So I naturally came up with a crime film, and as I was thinking that I should try and do it in a realistic and Korean-style method rather than imitating American genre films. I thought of the Hwaeseong murders, which I’d heard a lot about since I was young. But when I actually researched data on the Hwaeseong murders, it contained elements that were far more overwhelming and horrific than I had ever imagined.”

“I met with detectives who worked the case, Hwaeseong residents, and reporters from the Gyeongin Ilbo, which was the region’s newspaper.”

“I was very scared. I suffered a lot psychologically. Really, during that time period, I was very deeply absorbed in the murders, enough so that I had delusions that I might capture the real killer in the process of my research. I fell deeply into it emotionally, so I was exhausted as well.”

“I watched a lot of them, things like Se7en and The Silence of the Lambs. And also Imamura Shohei’s Vengeance Is Mine. Not only does that film clearly reveal hysteria in the Japanese society of the time, it has some unidentifiable, incredible strength to it. Of course, the work that influenced Memories of Murder directly was Alan Moore’s graphic novel From Hell. I was a bit disappointed with the Hughes brothers’ film of it.”

Subtopic 3: To what extent has Bong collaborated with the same people time and time again?

“Bong Joon Ho co-writes the film with British author/journalist Jon Ronson, a partnership that perfectly weaves together the director’s marvelous creature sensibilities, as previously experienced in The Host, with Ronson’s ability to convey a Brit-like humor and wit throughout the film that is intelligent, sensitive and, at times, quite darkly hilarious.”

“Zipping along to a vibrant soundtrack, Bong crafts lively, action-packed moments that find the hulkish Okja careening through public spaces while people scramble around her. This includes one of the most striking moments in Bong’s entire career — a slow-mo battle set to John Denver’s “You Fill Up My Senses,” which finds the ALF forming a wall of umbrellas to defend a cornered Okja while Mija cowers nearby.”

“Bong Joon-ho and his co-screenplay writer Kelly Masterson (he previously made an impressive debut with Sidney Lumet’s last work “Before the Devil Knows You’re Dead” (2007)) have made a darkly engaging SF thriller from their source.”

“Tilda Swinton gloriously embraces her despicable character with the attitude of mean British headmistress, and she is fearless as usual in throwing herself into the hammy side of her character.”

“But about the monster. Created by the San Francisco-based FX house, The Orphanage, it is a creature of scary amphibious loveliness, with greenish salamanderlike skin, froggy legs…“

“I first met Plan B a long time ago-2007 in LA-and they suggested a lot of original source material to me. It was a very light relationship. It was right after I was done with my film The Host and Jeremy and Brad Pitt from Plan B were fans. I also really admired their filmography. They do lots of cavalier films such as 12 Years a Slave. So it was a natural mix between Plan B and I. But even before Plan B came on board the casting casting and effects of the film were already packaged nicely through the Korean producers and the American producer, Dooho Choi. Plan B came slightly later on and because they had a good relationship with Netflix via War Machine, they introduced Netflix to the film and they were fully supportive of Okja. It was a very smooth transition all around so I am very happy.”

“After what we went through on the last one, it was very important to start the process knowing that we had control,” producer Dooho Choi said after a press event in Cannes on Sunday. “That was most appealing aspect of it — knowing that he could play, and that someone would not be looking over his shoulder constantly. It was a pretty smooth process in that regard.”

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