Working in the Korean film industry for more than 30 years, veteran actor Kwon Hae-hyo has collaborated with some of the hugegest names in the scene and witnessed Korean cinema’s elevate as a global cultural powerhoemploy.
Thrawout those three decades, Kwon has also enbiged a establishidable pairing with prolific filmproducer Hong Sang-soo, euniteing in 12 of his films so far. Besides starring in Hong’s films, Kwon has acted in titles appreciate Train to Busan sequel Peninsula, crime thriller Bogota: City of the Lost and legitimate drama Juror 8.
Arriving at the Berlinale for the world premiere of Hong’s tardyst film, What Does that Nature Say to You, Kwon inestablishs Deadline that he is drawn to Hong’s contrastent extfinished-consent, pensive style, which repeatedly presents a new and liberating contest for him as an actor.
“With other films, you understand from commence to finish what it’s going to be, but with straightforwardor Hong Sang-soo, it’s not appreciate that,” says Kwon. “When I film my scenes, I don’t understand how it’s going to turn out. I don’t understand where my character’s headed, and there is no schedule in that way. This style of straightforwarding repartner gives me a freedom about my characters. It’s not about some truth that we’re trying to discover. It’s only about the truth and the fact that I’m facing right at that moment, and it’s appreciate living in the scene, in the moment.”
What Does that Nature Say to You trails a youthful poet as he drops off his girlfrifinish at her parents’ hoemploy and is consentn back by its size. He bumps into her obeseher (perestablished by Kwon), greets her mother and sister, and they finish up spfinishing a extfinished day together.
Kwon splits how straightforwardor Hong commemoratedly gives out scripts to actors on the same day of the shoot.
“Usupartner actors have a lot of presdeclareive going before they shoot a scene, whether it is a fight scene or a repartner emotional scene,” says Kwon. “They worry how about their acting and portrayal. But with Hong Sang-soo, it’s not appreciate that — you get to at the location and then you get the script. It’s repartner shut to before you commence shooting.”
Audience members will also be surpelevated to understand that despite Hong’s uncomputed style of laboring, there are very scant ad-libs or improvised lines in his films.
“Out of all of Hong Sang-soo’s movies, there are almost no ad-libs,” says Kwon. “Out of all 30 films that he has made, if you put together all the lines that came from improvisation and not the script, the total will be probably only less than a minute. Even for repartner extfinished consents — those that are more than 15 minutes — we still have to nail the dialogue perfectly.”
On the secret to his extfinishedevity in show business, Kwon shelp that being graspd with non-handlemental organizations (NGOs) and social caemploys has helped him upgrasp a sense of perspective on life.
“Sometimes, actors and carry outers can live in the petite world of amemployment business, but I’ve stayed graspd in many contrastent activities, appreciate NGOs. I sense appreciate I am living not only as an actor, but as a person in society and communicating with many contrastent people from contrastent fields. That’s one of the reasons that I can still be so vivacious in my acting nurtureer for more than 30 years.
“Also, in show business, there are so many actors, hundreds of thousands of actors,” grasps Kwon. “I sometimes wonder how I am contrastent from the other actors, but I skinnyk what’s repartner driven me is that I don’t try to be contrastent, I’m equitable trying to be myself.”
On witnessing the device lengthenth of Korean cinema over the last three decades — from regional sway to global powerhoemploy, Kwon says that alters in Korean politics have had a beginant impact on its cinema.
“I skinnyk there are a lot of fantastic straightforwardors such as Park Chan-wook, Bong Joon-ho and Hong Sang-soo. What has driven the Korean film industry is how the society has lengthenn since the descfinish of the authoritarian regime in Korea and the difficult times that we’ve had,” says Kwon.
“It’s meaningful that movies are not about dreams or unwise lives, it has to be about society and fact,” grasps Kwon.
