Dialogue: Park Chan-wook. "Originally, I intended to become an art critic. That was the reason why I majored in philosophy, so I could study aesthetics in depth. But the philosophy department at Sogang University, where I entered, was a citadel of English analytical philosophy at that time... It is clear that Hitchcock's movie had a great impact on me at the beginning. Now, however, the influences that keep spurring me on are people like Sophocles, Shakespeare, Kafka, Dostoevsky, Balzac, Zola, Stendhal, Austin, Philip K. Dick, Zelazny and Vonnegut.

The audience seems hazy to me, shrouded in a veil through which I can't see. They are not real, not concrete. So I chose one person to be my sole audience, representing all the audiences out there. That person is my wife. From the scriptwriting and the editing process all the way to deciding on the music, I discuss everything with her thoroughly in detail. She is a normal housewife with an incredible eye who constantly offers me much advice and help.

The problem with distribution is severe. Since the fixation of the wide-release structure in Korean movies, the situation where one film dominates over one-third of all the screens in the country keeps recurring. Movies that are unable to generate huge commercial interest within the first week of release disappear in the opening week or the next... This is the shadow underlying the era of "10 million viewers." In talking about the movies themselves, I still believe we have a long way to go. We still haven't been able to produce a virtuoso such as Kurosawa or Ozu, and we still lack the explosive character of the fifth-generation Chinese directors who vied with each other in putting forth such great works as "Yellow Earth" and "Red Sorghum." However, the fact that a multitude of directors with limitless potential are currently working in the industry, that they are working tirelessly, that they are still young, that they are not overshadowed by an overly charismatic senior figure, that they are not isolated from the audience, that there are many artistically motivated producers and that there is a continuous flow of capital going to competent directors are several factors that allow us to view favorably the Korean movie industry and its positive future.

In reality, however, the vengeances represented in my movies are not actual vengeances. They are merely the transferring of a guilty conscience. My films are stories of people who place the blame for their actions on others because they refuse to take on the blame themselves. Therefore, rather than movies purporting to be of revenge, it would be more accurate to see my films as ones stressing morality, with guilty consciences as the core subject matter. The constantly recurring theme is the guilty conscience. Because they are always conscious of and obsessed with their wrongdoings, which are committed because they are inherently unavoidable in life, my characters are fundamentally good people. The fact that people have to resort to another type of violence in order to subjugate their initial guilty consciences is the most basic quality of tragedy characteristic in my movies thus far."

geoff ross is famous: Hello, MovieBox. iTune/iPod for movies. The gadget + film geeks dream, that is far from materialization, just like their first feature directorial debut! ^o^;;

Shall We Dance (US version) trailer. It certainly looks good. But will it have the heart of the original?

Tips for Writers. Writing loglines, synopsis, and more.