00:00 I shot less than 15 takes,
00:05 and it took two days.
00:07 There's no perfect take for every moment.
00:10 In this long action scene,
00:12 where I'm constantly moving,
00:15 I chose the best one.
00:19 Hello, I'm Park Chan-wook,
00:25 a Korean director who made a movie called "Old Boy" 20 years ago.
00:27 Nice to meet you.
00:28 [Music]
00:46 This scene is about how Dae-su Oh went back to the prison cell to find out who had imprisoned him.
00:57 [Music]
01:03 I had a lot of conversations with the art director,
01:06 and the color tone of this movie was used a lot.
01:13 In some situations, the green is very cool,
01:17 clear, and reminds me of nature.
01:22 In this scene, it's different from that.
01:25 I used old, rotten mold,
01:31 and contrasted it with the red of the door.
01:36 That's how I set it up artfully.
01:40 What I thought was especially important was the white pipe on the ceiling.
01:47 It's a pipe that stretches out all over the place.
01:51 I used wide-angle lenses to emphasize the sense of distance.
01:55 [Music]
02:01 This was shot by B-cam.
02:05 It was more of a coincidence than a plan.
02:09 It was very dynamic, and I used it well in editing.
02:12 The action that will take place in the future will be very calm and attention-grabbing.
02:17 The camera will move with the distance.
02:20 It's a dynamic start, which is different from that.
02:24 If you start like this, you'll be a little bit of a foreigner.
02:29 What I like is the audience's foreigner.
02:34 There's a lot of close-ups, fast-moving, dynamic action.
02:38 You'll automatically expect it, but you'll be a betrayer.
02:44 [Music]
02:50 Please pay attention to this person.
02:53 He's the best Korean martial arts director, Heo Myung-haeng.
03:00 He was the leader of the stunt team.
03:05 He's a great actor.
03:08 His physique, hair, and hairstyle are impressive.
03:12 The audience can distinguish him from many people.
03:17 [Music]
03:28 Vertical line on a long screen.
03:31 Wide screen that utilizes the 2.35 to 1 cinema scope as much as possible.
03:39 Now, there are more people than this screen.
03:45 I wanted to place a lot of vertical lines on a horizontal screen.
03:50 We use a lot of wooden sticks in Korea.
03:55 Because it's a country where guns are not used.
03:59 Or, if you want to be more cruel, you can use a knife.
04:03 I asked the props team to prepare something longer.
04:10 What I imagined was a medieval Western painting.
04:17 The scene where knights cross and fight.
04:26 The soldiers are holding a spear and a sword.
04:32 I prepared a long scene.
04:35 [Music]
04:50 The action using a spear is not because I like the spear itself.
05:01 Oh Dae-soo is confident in any situation.
05:06 He's a strange optimist who can only have people who have nothing to lose.
05:14 If you're a revenge-preparing person in a movie like this,
05:18 You have to collect weapons and carry them around.
05:24 It's a lot of stuff like that in the movie.
05:26 If you open your bag, it's full of stuff.
05:31 I'm just looking around and picking up anything that stands out.
05:36 But I wanted to use it as much as I could.
05:40 I felt the audience was sick by shooting the back of my foot.
05:44 [Music]
05:52 I shot less than 15 takes.
05:57 I shot for two days.
05:59 There's no perfect take at all.
06:03 In this long action, in a situation where you're moving endlessly,
06:09 Not every situation can be perfect.
06:11 I chose the best combination.
06:15 I made sure that the VFX didn't hit the enemy.
06:23 I drew all the swords on my back.
06:27 I made a mistake by making Oh Dae-soo's arms a little longer.
06:35 I made it look natural by making it look like a complement.
06:38 [Music]
06:50 When I shot this in long take or wide angle,
06:56 The thing that was worrying was the distance.
06:59 From here to here.
07:01 Actually, this is this much.
07:02 It's the distance between the walls.
07:05 It's not a wide corridor.
07:08 It's expressed here.
07:09 I can't hold it like this.
07:12 If there's a wall.
07:13 If this is a real corridor,
07:15 I can't get this angle.
07:17 No matter how many wide-angle lenses you use.
07:19 I'm lying about the size.
07:24 When you look at it from the front or from the back,
07:29 It's a little scary.
07:32 It feels narrow.
07:33 I'm going to make sure there's enough size here.
07:36 I'm just going to take one wall off.
07:37 I'm just going to reveal that it's a lie.
07:39 I was the one who shot it.
07:40 [Music]
07:58 There's a funny moment when you realize that you're the only one.
08:02 I remember laughing while watching the monitor.
08:06 In any situation,
08:10 Especially when you're the farthest from humor.
08:16 In a situation that shouldn't be funny.
08:18 I think the humor that comes out at that time is the most valuable.
08:23 I think it's an important secret that describes life in general.
08:27 In this situation, humor must appear.
08:32 [Music]
08:41 Choi Min-sik's acting at a moment like this.
08:47 It's not acting.
08:49 It's so hard.
08:53 I'm so tired that I'm going to die.
08:54 I'm shaking.
08:57 It's a way to recharge your energy.
09:01 I loved the fatigue of Oh Dae-soo.
09:06 When I see him, it's something that no one can do for him.
09:10 Actors are destined to be lonely.
09:15 At this time, he looked so lonely.
09:20 He looked so pitiful.
09:21 [Music]
09:30 Actually, where should I cut this long take?
09:34 It was also an important decision to decide where to go.
09:38 So my conclusion is that the cut is made here.
09:42 It's a big close-up, a little bit of a crooked angle.
09:50 The bodies of enemies that pile up like a pile of mountains in the back.
09:56 He's not dead, he's not a superhero.
10:01 It's a similar hero.
10:03 This hero is not a morally noble person.
10:08 It's a hero in the sense of getting out of the ordinary human power.
10:17 I saw it.
10:18 [Music]
10:31 So the fight inside this elevator.
10:35 I was thinking about showing you at first.
10:37 I've seen enough of it.
10:40 I'm just going to leave it to your imagination.
10:43 It was more fun to do it that way.
10:47 The elevator is later in Lee Woo-jin's penthouse.
10:53 It's a very important place.
10:56 And the reason why it's important in the confinement room is because it's a floor that doesn't seem to exist in this world.
11:04 It's not seven floors, it's not eight floors, it's 7.5 floors.
11:08 It's an elevator that connects you to a place that you can't know outside and you can't go to if you don't know.
11:17 Like the numerous stairs that appear in this movie,
11:22 Elevators are used to express the image of going up and down vertically and moral fall.
11:32 [Sound of elevator door opening]
11:39 Looking at the whole thing, I felt like I was fighting against fate, not just against some villains.
11:49 These villains are so unnamed, so they're a little abstract.
11:56 From a certain point of view, it's an endless struggle until a person is born and dies.
12:05 It's a scene that visualizes the struggle of life.
12:12 Then this is a continuous screen, and it's not a close-up.
12:20 It's a way to fully express the whole group at once.
12:26 Oldboy is a 20-year-old film, so if it can be verified that this movie is still running,
12:37 If you can go through that trial, as a filmmaker, the moment is important, but the most important thing is how long this work will survive.
12:53 I'm nervous and nervous because I think the test is coming true this time.
12:59 Another thing is that there are young audiences who haven't seen this movie yet.
13:06 I wonder how they will feel about this movie.
13:13 I hope it's new for an old movie.
13:20 [BLANK_AUDIO]
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