MM: Did having more financial resources and a studio backing you make this easier or more difficult?
KJ: This was the first Korean film that Warner Bros. invested in, and they were very considerate and helpful in portraying those kinds of characters and trying to seek out what the Korean audience would look for. Obviously because it was their first Korean film, they were very helpful in making sure that everything took place in a very Korean setting. Warner Bros.’ strategy in creating a localized movie worked in my opinion.
MM: In terms of genre and tone, did you feel The Age of Shadows was a departure from your previous films, several of which sported horror elements?
KJ: Rather than stepping away from horror, I’m curious about different genres and how each genre can set a different tone and story for a film, so I’m also curious to see how the films I’ve seen in my childhood could be replayed through my vision. Right now I have two upcoming projects—one is sci-fi and one is a mystery-horror. I’m still curious about all these genres for the future.
Director Kim Jee-woon on set. Courtesy of Warner Bros.
MM: What’s the key to directing an ensemble cast in a lavish period piece like this?
KJ: I see the process as making soup. You’d have the ingredients that you already agreed on, but as you go along you can taste it and decide whether it’s too bland or too spicy and change the ingredients or the water.
MM: Tell us about your visual process. Are storyboards a part of the aesthetic construction of the film?
KJ: Korean films in general depend on storyboards very much. These are very well prepared. The key crew would have a discussion with me, the director, about the storyboards, and then they would edit the storyboards again. After that, but before shooting, the entire crew gathers, and we would go scene by scene to make sure that they all understand the director’s intentions. Obviously, when you go on set, there could be so many little changes, emotionally or functionally, so discussions about those changes are crucial.
MM: For you as a director, what was the most challenging scenes or sequence to bring to life in The Age of Shadows? There are numerous battles and action-packed moments throughout this epic tale.
KJ: Conversation scenes are the most challenging to me, because it’s about relaying your thoughts or your mind to the audience. It’s especially difficult if you are a fake double agent, and you are trying to guess the other’s motive, trying to hide your emotion and also trying to guess what the other person is thinking. That can be very challenging to shoot. In order to maintain the tension between the characters, I would ask one of the actors to portray very detailed small acting such as flicking your gaze sideways or exchanging your gaze with this other actor in order to maintain the tension between the characters. Also in terms of the music, I chose not just to use generic music but also noises that would maintain the conflicting tension between the characters. I would insert those irritating noises into the music in order to create more tension.
Yoo Gong portrays lead Resistance fighter Kim Woo-Jin in this underground world of betrayed loyals and shadowy alliances. Courtesy of Warner Bros.
MM: Another aspect that separates period films from other productions is the intricate details in production design and costumes. What was the approach for The Age of Shadows?
KJ: The costume designer for The Age of Shadows, also happens to be the costume designer for Park Chan-wook’s film The Handmaiden. She is one of the best costume designers in Korea. She has also worked with me in the past and knows what I expect. However, whereas The Handmaiden’s costumes are a bit more feminine, in The Age of Shadows the costumes a more masculine, so they don’t really overlap.
MM: What are your thoughts on Park Chan-wook’s latest film The Handmaiden?
KJ: Our main interests as directors are different, Park Chan-wook made a very perverted and twisted film, and I made a film about justice and defending the nation [laughs]. Of course I’m joking. I personally loved The Handmaiden and when I say that it was a perverted and twisted film I’m not talking about homosexuality in the film, but I’m referring to one of the male characters in the film specifically. Just want to make that clear.
MM: From your point of view, what’s the state of Korean cinema today, now that it seems to have become widely available and successful around the world?
KJ: Commercially, the market is getting bigger and bigger. The ‘90s were a period in which you could see a director’s style strongly embedded in their films, but after that period, with the exception of Park Chan-wook, Bong Joon-ho, or myself, I feel that the diversity of subjects or stories are actually lacking today. I’d like to see more up-and-coming filmmakers explore diverse subjects in diverse styles. MM
TECH BOX
Camera
KJ: Alexa XT. It has a sensor that captures very wide latitude. Good for film’s low-key atmosphere. Sadly, There is no film lab in Korea.
Lenses
KJ: Arri Master prime set. Angénieux optimo zoom 15-40, 45-120, 28-340. Mostly use zoom lens to homage old spy flicks
Lighting
KJ: We hung a few huge soft light boxes, especially for the opening night chase
sequence. Unlike most other soft box lights, these boxes produce very soft
but also very directional light, so we could get desirable mood for the
scene.
Color Grading
KJ: Mostly, I tried to drain red out to make the overall tonal quality
relatively cold compared to most other period films of its time.
Shooting Days
KJ: 105 Days.
Budget
KJ: The budget is $85 million. The Age of Shadows is Warner Bros. first Korean feature. The film was financed by Warner Bros., Korea and other Korean investors.
Locations
KJ: Location: Shanghai, Mungyeong, Hapcheon, Seoul, Gangneung, Cheongpyeong, Wonju, Paju.
Set: Large Outdoor Set (3 places at Shanghai, Mungyeong, Hapcheon, Folk Village)
Studio Set: Mengganony Studio (Dong-ah Institute of Media and Arts’ Studio set) MM
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