Last Friday, fans of Asian cinema from all over Europe (and the world, to be exact) found themselves on a cinematic pilgrimage to the little town in Northeast Italy; Udine turns into a bona fide Mecca of Asian cinema every year. What made the screening of the opening film Steel Rain extra special was the presence of both male leads, Kwak Do-won and Jung Woo-sung, along with the film’s director Yang Woo-suk.

A day later, in the scorching heat of what felt was the beginning of a proper Italian summer (never mind that it is only mid-spring!), the magnificent trio took the time to answer our questions and have a short conversation that cooled down the heat with a few precious bouts of laughter.

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How did this project come about? It’s a very topical film, so how long ago did you start working on it?

Yang Woo-suk (YWS): 25 years ago, the nuclear crisis between North and South Korea began, and that was when I became interested in the topic. But there was a peaceful mood surrounding it, and then ten years ago, this crisis deepened – which is when I came up with this project. I originally created this story as a webtoon, and then I developed it into a script which I then revised several times. That then led to this film being made.

How did Netflix come on board?

YWS: Actually, this was not a Netflix project. The investor is a Korean company who completed the film and then Netflix bought it for the international audience; it’s a film made by NEW. Netflix saw the script and then watched the final product and decided to support it.

Kwak Do-won (KDW), you have worked on several politically charged films like Asura: City of Madness and The Mayor; what interested you about this character, Kwak Chul-woo, in particular?

(Spoilers ahead!) I was really intrigued by the ending of the Steel Rain script; all of South Korea hopes for a peaceful reunification of North and South, so I was really happy to see it happen in the story – and that’s why I wanted to be a part of this project.

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Jung Woo-sung (JWS), you’ve done many types of roles, from politically-charged films to melodramas and romantic comedies… What was the most challenging thing about taking on the role of Eom Chul-woo?

The biggest challenge for me was using the North Korean dialect, because there was no way I could master it; but I wanted to make it natural, so I worked with a special teacher to make it work. Also, Kwak Do-won mentioned that all Koreans want reunification, but with the younger generation… if you bring up the topic, they don’t want to talk about it at all, and sometimes, they even believe it would be an economical burden. So, I thought it was a good time to refresh the idea, and bring the topic to the Korean audience, so that the conversation can start again.

You talked about this on stage a little bit yesterday, but you have worked together a lot, so what was it like to be in this film together again? Apart from your joke about it being “bad”?

[JWS laughs, and after the translation, KDW laughs]

KDW: [In English] You first. [laughs]

JWS: When you act together, there is a chemistry between actors; it’s not just a functional exchange of dialogue, it’s about reading between the lines, and reading between the moods. It is very challenging for us as actors, but it is also very helpful; it gets us to act better. I feel like maybe the experience we got from working together on Asura helped; I felt that our chemistry was very good in this film. Even if us actors want to work together, though, it is not an easy thing to achieve –  you have to have the right script and the circumstances must also allow it. But if the chance comes, I would like to work together with Kwak Do-won again.

[All look to KDW, who pauses and stays quiet] JWS: [English] Say me too!

[Everyone laughs]

KDW: As an actor, you feel the happiest when you as a character talk about your life with another character. You feel that the characters exchange their honest feelings, and for me, that is the most joyous moment. Jung Woo-sung is the one who made me feel this way in both films. When he acts in a scene, he does his best, he acts as if his life is on the line. That is something I would like to learn, and I would like to work with him once again, if a director will give us a chance.

JWS: [English] Thank you.

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Talking about the chemistry that you two have, we feel that we should talk about that moment with G-Dragon’s music in the car. How many takes did you have to do to film that scene? And is there a version where you are both dancing?

KDW: [English] We only did it three times, no?

YWS: [English] Not including rehearsals, only two times.

No hidden footage?

YWS: [Pointing to KDW] [English] He is a dancing genius!

JWS: [English] I can’t dance.

There’s that scene in The King

JWS: [Laughs] [English] …Yes, yes.

YWS: [English] In this film, his character was worried about his daughter.

It’s ok, she got to listen to G-Dragon in the end!

JWS: [Laughs] Yes!

We would like to thank Kwak Do-won, Jung Woo-sung and Yang Woo-suk for taking the time to answer our questions, and the Udine Far East Film Festival team for arranging the interview.

Written and edited by Sanja Struna (View of Korean Cinema)

Interview transcription by Roxy Simons (Vodzilla)

Interviewed by Sanja Struna (View of Korean Cinema) and Roxy Simons (Vodzilla)

All ‘Steel Rain’ photos © Netflix

Cover photo © Sanja Struna

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About viewofkoreancinema

Maggie Gogler is a freelance film producer, production manager and she also works with children. She has a passion for Korean and World Cinema as well as music and arts. Maggie has been interested in cinema since she was 15 and discovered love for Korean films in 2004 when she saw Kim Ki Duk’s The Isle. She supports British and Asian independent film-making and enjoys producing creative and interesting projects. Maggie is the co-founder of View of the Arts and its sister website View of Korean Cinema. Sanja Struna is a freelance translator, occasional writer and a perpetual dreamer. Film is her first and longest-lasting love; since writing is her second, she saw the light a couple of years ago, let the two join hands and entered the field of film journalism. She has honed her knowledge through various film festivals which she either worked for or frequented. She is currently harboring a fascination with all things Korean and condones losing sleep if that means she can watch a good Korean film or drama. Sanja is the editor of View of the Arts and co-founder of View of Korean Cinema.

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