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- Could you tell us a little bit about your background on becoming a filmmaker?
I was a film buff since middle school. I started writing a lot of short stories then, and wondered what might encompass both culture and music and ended up with film. I participated in a shorts workshop and that’s where it started. I was hired to write for a broadcast, a show about films which is still ongoing, and built the foundation for my film profession. After a short I made in 1997, I’ve been to many film festivals and experiences a lot of things. I was lucky to have made films that were what I wanted to make instead of giving in to market preferences. But with the extreme difference in the receipt of the domestic and international audiences, I tried to make a film that’s more easier to approach and could shine more light on the stars with SCARLET INNOCENCE.

 

- Is there a reason why you chose the folk tale of Shim-chung-ee among others?
First of all, CJ E&M got in touch with me with the script. After 2007’s Hansel and Gretel, I guess they thought of me first when looking at films that turned old tales into something completely different. The concept of the good daughter Shim Chung and the evil stepmother is fun, but I felt that it was a forged stereotype and wanted to turn that around. I wondered what will happen if I could twist such a story.
SCARLET INNOCENCE is an emphasized drama, kind of like Korean dramas, and it is separated by acts like an opera. I hoped to find an interesting melodrama that dealt with lust.

- When looking at the main characters in the story, there are only ‘bad guys’. Is there a reason for that?

Deok used to be a good person, but she changed over time. In my opinion everyone has good and bad sides. Hak-gyu’s bad characteristic comes from his indecisiveness. Through that personality, it created a domino effect which led to horrible results. For me, it’s hard to trust someone that looks perfectly nice. I believe that those with ups and downs are more truthful and realistic and I can give my trust to them. Maybe that is why I didn’t want to portray someone that was purely a good character.

 

- The sex scenes in the film were very realistic and you didn’t try to romanticize it by using close ups and montage editing
As I said previously, I didn’t want to show a character with purely good nature or vice versa. As people’s feelings are reality, I didn’t want to show just one side of the story but a balance between the characters. When Deok says she’ll never let him go during their intercourse, it’s not something usual you see in such a scene. However it foreshadows the story’s twist and defines the film as something more than just a melodrama.

 

- JUNG Woo-sung’s participation in this film is refreshing because he’s never done a role like this before. It seems like you tend to change the image of the actor when you work on a project with them. Are there any other actors you’d like to break their image for and to change into something different?
Through this film and meeting JUNG, we worked really well together and I feel like I found a good friend. JUNG even said to me that I should only shoot good looking actors and actresses! For JUNG, this was a new challenge and from the new character he was playing, he found interest and enjoyed himself. Just like a Hitchcock film where a handsome male character faces a huge problem, JUNG has great characteristics to fit for a thriller. I hope other Korean directors don’t take notice of this. In the future, I would love to work with someone like LEE Jung-jae who is very handsome but also has unique characteristics. Even in Hollywood, handsome actors like George Clooney or Brad Pitt are under the stereotype that good looking people can’t act as well, although they’re very talented.  I think it is the same in Korea. I want to break that stereotype and shine on the actors who are good looking, but also great actors.

 

  

- Your previous films have circulated around film festivals many times. What do you think the international audiences like about Korean films and your film in particular?
As it happened with Hansel and Gretel, I have been getting opposing reviews from international and domestic audiences. Sometimes I ask myself, am I making films for non-Koreans in Korea? But then I think it’s wrong to make films that cater just to the audiences’ tastes. Directors must challenge themselves and have their own color. Perhaps I’m just jealous of those who are able to get domestic popularity.

 

- As a film festival veteran, which film festival have you had the greatest experience with?
I’ve been to many large film festivals, but the one that sticks with me the most is the Sitges Film Festival. I used to be a jury as well and everytime I go, I get a sense of healing from the trip. Also, I’m a FC Barcelona fan, so it’s a bonus to go watch a game while I’m in town! Unfortunately I wasn’t able to go to the festival with this film for 2014, but I hope to visit again soon.

 

- Could you say a few words to other filmmakers?
The reason we make films is to show to as many people as possible. I think we find that courage to make a film through film festivals. Films that don’t have an identity are lonely. I hope everyone could think about the color they want to paint and shoot with their heart. Also, don’t watch just screenings at a festival. Finding more about the city and going around the town to feel the place on your skin is also very important.

 

- Do you have any projects underway?
Right now I’m thinking of a few. One will be called The Flower of Evil, which I got the title from a poem about an evil woman. However the concept of lust and deterioration was similar to SCARLET INNOCENCE although the story will be quite different, I decided to hold on that project for the time being. I also want to try filming a really extreme horror film with super low budget. Or perhaps a sports thriller? I’m going to be debating until the end of year before I decide.