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Search results for "script interpretation"

'Great Flood' Park Hae-soo

'Great Flood' Park Hae-soo "Script like a cipher, stimulates the desire to challenge"

Completed 'Hee-jo' through complex script and psychology, enhancing quality through close communication with director Kim Byung-woo
Actor Park Hae-soo, who plays the personnel security team member Hee-jo in the Netflix movie 〈Great Flood〉, revealed his affection for the work and his acting approach.⬦ Is it structure or a test... Park Hae-soo's interpretation of 'Hee-jo'The movie 〈Great Flood〉 depicts the last days of Earth due...
| 김지민
[Joo Seong-cheol’s Locker] See ‘Hope’ Again Through the Driver-Grade Cap Joo Seong-cheol Wears While Racing Across Seong-gi Bridge in ‘The Yellow Sea’ and ‘Goksung’

[Joo Seong-cheol’s Locker] See ‘Hope’ Again Through the Driver-Grade Cap Joo Seong-cheol Wears While Racing Across Seong-gi Bridge in ‘The Yellow Sea’ and ‘Goksung’

I get hooked on the objects in the movies. I end up deep in thought about why the director—whether it was the director, the cinematographer, the production designer, or even an actor—put that particular item in front of the camera. ‘Joo Seong-cheol’s Locker’ is a record of the objects in films that delicately landed on my eyes.
Park Chan-wook’s 〈The Handmaiden〉 and Na Hong-jin’s 〈Goksung〉 were released in 2016, on June 1 and May 12, respectively, in the same year. Coincidentally, both films were invited to the Cannes Film Festival that year—Park Chan-wook’s to the competition section and Na Hong-jin’s to the...
| Joo Seong-cheol
Interview: Rising Star Choi Hyun-wook of ‘Notes from the Last Row’ ②

Interview: Rising Star Choi Hyun-wook of ‘Notes from the Last Row’ ②

※ This interview with 〈Notes from the Last Row〉 star Choi Hyun-wook continues from Part 1. 〈Notes from the Last Row〉 sets up Lee Gang’s decision to take revenge after an offhand remark from Heo Mun-o, whom he met at the orphanage as a child, becomes a wound.
| Kim Ji-yeon
Interview: Choi Min-sik Lays Bare the Raw Face of an Inferiority Complex in 〈Notes from the Last Row〉, Part 1

Interview: Choi Min-sik Lays Bare the Raw Face of an Inferiority Complex in 〈Notes from the Last Row〉, Part 1

Forty-five years into his career, Choi Min-sik can still reveal a new side. In Netflix’s 〈Notes from the Last Row〉, he trades his usual untouchable charisma for the exposed, raw face of an intellectual consumed by an inferiority complex — a petty man trapped in his own world and steeped in a sense...
| Kim Ji-yeon
The Boundaries of an Art Language Are No Limits — Inside Albert Serra’s World (1)

The Boundaries of an Art Language Are No Limits — Inside Albert Serra’s World (1)

It is the first time that a work by director Albert Serra has received an official theatrical release in South Korea; his “The Solitaire Afternoon” is set to open here.
This is the first time that a work by director Albert Serra has received an official theatrical release in South Korea. 〈The Solitaire Afternoon〉 is a film that closely captures the look of world-renowned bullfighter Andrés Roca Rey, one of the giants of modern bullfighting, created by director...
| Joo Seong-cheol
Interview: Gu Kyo-hwan Says ‘I Want to Beat Up Seo Yeong-cheol’ Is the Highest Praise for ‘Colony’

Interview: Gu Kyo-hwan Says ‘I Want to Beat Up Seo Yeong-cheol’ Is the Highest Praise for ‘Colony’

It’s fair to call this "Gu Kyo-hwan’s year. " From 《If We》, which helped spark a melodrama boom, to the recently ended series 《Everyone Is Fighting Their Own Sense of Worthlessness》 (hereafter 《Mojamussa》), and the film 《Colony》, released on May 21 and which has surpassed about 2.
| Kim Ji-yeon
[Interview] Yeon Sang-ho on 〈Colony〉: ‘I Drew Inspiration From the Extreme Game Mechanics of Escape Rooms and the Operating Principles of AI’

[Interview] Yeon Sang-ho on 〈Colony〉: ‘I Drew Inspiration From the Extreme Game Mechanics of Escape Rooms and the Operating Principles of AI’

Yeon Sang-ho has done it again. Released on May 22, 〈Colony〉 passed 2 million viewers in its opening week. The overseas response has been as strong as the domestic reaction: advance international sales have already generated significant revenue, and in Malaysia the film ranked third among all...
| Seongchan Eol
Jeon Ji-hyun on 〈Colony〉: Fun Set, On-Time Days and Yeon Sang-ho’s Clear Worldbuilding

Jeon Ji-hyun on 〈Colony〉: Fun Set, On-Time Days and Yeon Sang-ho’s Clear Worldbuilding

Returning after 11 years, she is, as director Yeon Sang-ho put it, “a film actor. ” Actress Jeon Ji-hyun appears as Kwon Se-jung in 〈Colony〉, which opened on May 22, marking her first appearance before audiences since 〈Assassination〉 (2015).
| Seongchan Eol
[Interview] “Who Do You Build for?” Director Lim Pil-seong, Part ② of “How to Become a Landlord in the Republic of Korea”

[Interview] “Who Do You Build for?” Director Lim Pil-seong, Part ② of “How to Become a Landlord in the Republic of Korea”

Last weekend, the show reached episode 8 and is now past the midpoint of its 12-episode run.
▶ 〈How to Become a Landlord〉 The interview with Director Im Pil-seong continues from Part 1. After episode 7, it felt like the ending was shaped by the director’s point of view. But it’s pretty rare for both the writer and the director to be making a drama together for the first time.
| Cineplay
The Genre of Shin Hae-sun, 'The Art of Sarah' Shin Hae-sun①

The Genre of Shin Hae-sun, 'The Art of Sarah' Shin Hae-sun① "Sarah Kim is a character with a strange superiority complex and a twisted sense of elitism"

To borrow the words of actor Lee Jun-hyuk, 〈The Art of Sarah〉 is truly the 'culmination of Shin Hae-sun's acting. ' Following her portrayal of a multi-layered personality in 〈My Harry〉, Shin Hae-sun delves even deeper in 〈The Art of Sarah〉.
| Kim Ji-yeon