Forgot password

I liked films from when I was little, and I especially liked the sci-fi genre. I thought I’d make films like Blade Runner (1982) if I get a job in the cinema industry. (laughs) The first film that I worked at was Memories Of Murder (2003). I was still at college then. I had been teaching at an art institute as a part time instructor for a few years, when I finally thought I'd go for what I really wanted to do. That's when I heard from the Memories Of Murder art team, that they were hiring people. I also worked for the production design at Old Boy (2003). 

It was not a film. It was Same Bed, Different Dreams (2005), which is a cable TV series. I became a production designer when I was 28, at a very young age. I felt massive pressure that I was responsible for the whole work. In terms of films, Sunflower (2006) was my first work as a production designer.

Because the film took place in art circles, detailed description was very important. Since that’s where I came from, I had a lot of friends to help me with it. It was a lot of work, with limited budget and all, but it was still fun. It was definitely not easy though, as I often had to make things out of nothing at all. 

Whether it is production design or whatever, I try to stick to the original idea as much as possible. So I try to give a very specific plan from the beginning. It is the kind of plan from which you can understand the whole picture and discuss the paths the actors move along. Much like conceptual arts, I try to make it as detailed as possible. 

The production design was of course very interesting, but the film itself was even more interesting. A good scenario has good understanding of space. That is what makes things hard for you, because you truly feel that you don't want to hurt the great film.   

We had a lot of conflicts when we were making The Yellow Sea, because shooting itself was very hard. However, we got closer in the meantime, which led to another job together, you know, THE WAILING. Speaking of NA, well, he is a great stimulator. He wants something extra to whatever I have made. It is a lot of stimulant for me. As for THE WAILING, we worked together right from the scenario stage, and I learned a great deal from him.

It would be very boring to make or copy what has already been made. The funniest part of this work is to create something new, without hurting the overall sentiment of the film. That is why I want to do the sci-fi genre. Production design is all about re-combining different things to create something new. In Korean cinema, there are not many such films where the production design itself actively communicates with the audience, whether it is the background, props or moods. And that is exactly what I want to do.  

To make a good production design, you have to actually go there and experience it, but it was not at all possible. So we had to rely on references, and we had to be true to the details to describe the disastrous atmosphere. What was really hard was to make it still functional and efficient. What I'm saying is, the space had to accommodate staff, actors and cameras so they could actually shoot the film there. 

I have actually been to that historical place but it was just in ruins. It was not easy to revive it as a very crowded and vibrant street that it was in the 1940s. We don't have many references left either. We had to make almost everything new, and still have cinematic reality in it. And, most of all, it was really, really a lot of work. (laughs) 

The work environment got considerably better but still it requires sacrifice from you. It still has to get better than now, and only then you can expect the film quality to get better. I believe we are at least 80% good compared to Hollywood or European cinema. The remaining 20% depends on the work condition. In other words, it is a matter of time and money.